While writing my recent Love/Hate posts about the Halo franchise, I was stunned when I realized the amount of effort that had to be put in for the developers to release four mainline Halo games during the Xbox 360 era. Like… these are Halo games, even a smaller title like ODST would have take a ton of work and creativity to complete. This achievement was even more impressive to me compared to today, where most AAA video game developers struggle to release even two games this generation. It got me wondering what other game franchises had a ton of releases over the span of a single console’s lifecycle. Well, it turns out that Halo‘s Xbox 360 run barely even warrants mention next to the titans we’re about to look at.
Some quick notes though about how we’re going to determine our criteria for what counts for this top eight list:
The games here will include the original game (if applicable), and any sequels which are treated as a direct follow-up to its predecessor. So, for example, Super Mario Bros 2 would be a sequel to Super Mario Bros, but Mario Tennis or Mario Party would not (they would, instead, be considered their own separate series). This would include some side-games and spin-offs if they were intended to be a major release (for example, Dead Island: Riptide is a sequel, even though it is not a numbered entry like Dead Island 2). This does not apply to follow-ups which are expansions or DLC (such as Half Life: Blue Shift). This also doesn’t include clear, direct spin-off series within a wider franchise (such as Resident Evil: Survivor). It ultimately comes down to a judgment call from me, but I will mention my reasoning as needed.
If a game received an official release on the console, then it will be eligible to be counted. However, I am not counting re-releases and remasters which are then released on a later console generation (so, for example, Halo: Combat Evolved would count towards the Xbox’s total, but I would not count Halo: Combat Evolved Anniversary towards the Xbox 360’s total since it was a re-release. I will count ports, but only if they are within the same console generation and a short timeframe of the original release (such as Twisted Metal: Head-On, which I would count towards both PSP and PS2).
I am not including sports video game franchises. Seeing the entire list clogged up with decades of annualized sports games is just boring – we know that they will dominate the list if we let them compete… the bastards. That said, I did look at all of the major sports games franchises and FIFA comes out on top with a whopping fourteen games releasing on both the PS2 and the Xbox 360!!! (NBA 2K was the second most-prolific, and then Madden.)
Also, for simplicity’s sake, if a game has a different number of releases on different consoles across one console generation, I’m only going to count the console with the most releases. This is actually pretty relevant for the Xbox 360, which was getting exclusives and annualized games released on PS2 and Game Cube for a whole year before the PS3 and Wii released, which inflates its numbers somewhat.
As I specifically mentioned “console generation” here, it should not surprise you that the PC and mobile are not in consideration for this list, and by extension, PC and mobile-exclusive games do not count.
Finally, I have researched as best as I could for this topic, but it’s definitely possible that some obscure series exists with a ton of entries on a single console that I missed. I also don’t doubt that some shovelware publisher has released a threadbare game and several “sequels” in quick succession, but I don’t even think it’s worth anyone’s while for me to even mention those kinds of games anyway.
Honourable Mentions
Dynasty Warriors had an impressive five mainline games release on the PS2. However, if I had chosen to include the Xtreme Legends and Empires expansions, then it would have been at ten games released on PS2 instead! It technically doesn’t count under my own rules, but I thought it was notable enough to mention!
The Tony Hawk was notorious for pumping out a ton of sequels, but surprisingly, the franchise capped out at five games released on both the PS2 and the Xbox 360. I mean… that’s a lot of games, but it’s barely a blip on the radar for this list.
Similarly, the other two franchises I always associated with a flurry of sequels during the PS1 era were Tomb Raider and Twisted Metal. However, these franchises both capped at a total of five games, which just goes to show how many games you had to pump out to even warrant a mention on this list.
Mega Man: 6 Games (Nintendo Entertainment System)
Games: Mega Man (1987), Mega Man 2 (1988), Mega Man 3 (1990), Mega Man 4 (1991), Mega Man 5 (1992), Mega Man 6 (1993)
The Mega Man games were well-known for how many of them were pumped out in the 80s and early 90s, so it was not too surprising to see them make the list. I have never played any of them myself, but even I knew that there were just loads and loads of these games released before I ever held a controller in my hands. They released nearly-annually, which is pretty impressive, but it does explain why the franchise didn’t innovate much at the time.
Rock Band: 6 Games (PlayStation 3/Xbox 360)
Games: Rock Band (2007), Rock Band 2 (2008), The Beatles: Rock Band (2009), Lego Rock Band (2009), Green Day: Rock Band (2010), Rock Band 3 (2010)
Oh my God, the over-saturation of the rhythm game market was absolutely bonkers in the late 2000s. Multiple entries on this list released within a couple months of each other! How could you sustain your audience’s interest with that many releases!
Note: I did not include Rock Band Blitz into this list, because it is meant to be a spiritual successor to Amplitude and Frequency, and therefore is a spin-off. However, I did include Lego Rock Band, because it is a full-on Rock Band game with a Lego skin applied.
Wow, I had no idea that the Ratchet & Clank games were so prolific during the PS2 era! They were creative and innovative games, so it never really felt like we were getting over-saturated with Ratchet & Clank games.
Perhaps controversially, I’m counting Secret Agent Clank on this list. I considered cutting it, but it’s meant to be the narrative follow-up to Size Matters and plays similarly to all the other games… I mean, I can’t really justify it as anything but a proper sequel.
Need For Speed: 7 Games (Playstation 2)
Games: Need For Speed: Hot Pursuit 2 (2002), Need For Speed: Underground (2003), Need For Speed: Underground 2 (2004), Need For Speed: Most Wanted (2005), Need For Speed: Carbon (2006), Need For Speed: ProStreet (2007), Need For Speed: Undercover (2008)
It’s wild how Need For Speed was a full-on annualized series on PS2, whereas today the “serious”, AAA racing market is a desert of variety. I appreciated how they would try out different designs in each year’s installment, it always kept the series fresh and exciting.
Assassin’s Creed: 7 Games (Playstation 4/Xbox One)
Assassin’s Creed just does not stop, even when it definitely should have. These are such difficult games to pump out annually, with such detailed environments and animations, I do not know how they manage it. That said, when we get seven games on one console, is it any wonder that audiences have gotten burnt out on this franchise on multiple occasions?
Note, I did not count Assassin’s Creed Freedom Cry, since it was intended to be a standalone DLC for Assassin’s Creed IV.
Assassin’s Creed: 8 Games (PlayStation 3/Xbox 360)
Games: Assassin’s Creed (2007), Assassin’s Creed II (2009), Assassin’s Creed: Brotherhood (2010), Assassin’s Creed: Revelations (2011), Assassin’s Creed III (2012), Assassin’s Creed IV: Black Flag (2013), Assassin’s Creed Liberation (2014), Assassin’s Creed Rogue (2014)
You got that right, Assassin’s Creed has had so many games release that it managed to beat itself on this list! I did not expect the PS3/Xbox 360 era of Assassin’s Creed to be its most prolific, but I suppose it managed to avoid any of the fatigue-related cooling of the brakes for the release cadence.
Note, I chose to count Assassin’s Creed Liberation‘s port to PS3/Xbox 360 for this list since it released about a year and a half after the PS Vita version and retains the series’ traditional gameplay, so it’s more-or-less a proper sequel in its own right.
Armored Core: 8 Games (PlayStation 2)
Games: Armored Core 2 (2000), Armored Core 2: Another Age (2001), Armored Core 3 (2002), Silent Line: Armored Core (2003), Armored Core: Nexus (2004), Armored Core: Nine Breaker (2004), Armored Core: Formula Front (2004), Armored Core: Last Raven (2005)
Good God, I had no idea there were so many Armored Core games on PS2! FromSoftware were working their asses off in the 2000s, and all for a fairly niche market! I mean, we have three games released in 2004, that should tell you the rate at which this series was being cranked out.
The series’ naming conventions were so weird to parse through, but it seems like the non-numbered entries are not expansions or spin-offs, but full-on games in most cases. I agonized about whether to count Armored Core: Nine Breaker since it was meant to be a stand-alone multiplayer game, back before multiplayer was included as an optional mode in a primarily single-player game. I decided I would count it since it’s technically its own entry in the series, but it’s pushing the limits of what I’d accept…
Traveller’s Tales Lego Franchise: 9 Games (PS4)
Games: Lego Marvel Super Heroes (2013), Lego The Hobbit (2014), Lego Batman 3: Beyond Gotham (2014), Lego Dimensions (2015), Lego Marvel’s Avengers (2016), Lego Marvel Super Heroes 2 (2017), Lego DC Super-Villains (2018), The Lego Movie 2 Video Game (2019), Lego Star Wars: The Skywalker Saga (2022)
This might be a controversial inclusion here, since I’m counting all the various “franchises” of Lego games under the banner of Traveller’s Tales’ overall Lego game brand, but I don’t think it’s unwarranted. These games all play virtually identically, with some minor changes made to fit the theme of the franchise it’s riffing on. There’s actually been less of them released in the past decade than I realized, with a pretty long wait between 2019 and 2022 for a new release. Hopefully the slower release cadence is a sign of better games to come!
Some notes on what I would consider to qualify for this lst. I would not consider, say, Lego Racers or Lego Rock Band part of this franchise – just being a Lego game does not qualify, the game has to be following the Traveller’s Tales formula for me to consider it here. By that token, I did not include Lego Worlds, which is more like a Lego take on the Minecraft formula. However, I did include Lego Dimensions, since it’s basically just a toys-to-life take on the traditional formula, and The Lego Movie 2 Video Game is basically a Lego game with the Lego IP as its theme, which is kind of funny to think about.
Guitar Hero: 10 Games (Xbox 360)
Games: Guitar Hero II (2006), Guitar Hero III: Legends of Rock (2007), Guitar Hero: Aerosmith (2008), Guitar Hero World Tour (2008), Guitar Hero: Metallica (2009), Guitar Hero Smash Hits (2009), Guitar Hero 5 (2009), Band Hero (2009), Guitar Hero: Van Halen (2009), Guitar Hero: Warriors of Rock (2009)
The rhythm game genre would have been oversaturated by Rock Band‘s releases alone, but Guitar Hero absolutely took the piss with ten games released on the Xbox 360! They released five fucking games in 2009!!! Seriously, the rhythm genre did not die due to disinterest, Activision actively killed the damn thing.
Note, I waffled on whether to include Guitar Hero Smash Hits on this list. Like, I would not consider a band’s greatest hits album to be a proper entry in their discography, right? But ultimately I did decide to include it, because it includes new recordings of many of the older songs, adds in support for other instruments, has new venues, etc, meaning that more-or-less has new content which justifies its existence. I also chose to include Band Hero, since it is identical to Guitar Hero, but with slightly different branding due to being full of pop songs rather than rock/metal.
Need For Speed: 10 Games (Xbox 360)
Games: Need For Speed: Most Wanted (2005), Need For Speed: Carbon (2006), Need For Speed: ProStreet (2007), Need For Speed: Undercover (2008), Need For Speed: Shift (2009), Need For Speed: Hot Pursuit (2010), Shift 2: Unleashed (2011), Need For Speed: The Run (2011), Need For Speed: Most Wanted (2012), Need For Speed: Rivals (2013)
As impressed as I was with the release cadence for Need For Speed on PS2, it is wild how many of these games released on Xbox 360. However, you can really see how much flailing EA were doing during this console generation, as they went from arcade action with Most Wanted, to failed attempts at more serious games with ProStreet and Shift, and then back to a Most Wanted reboot to try to recapture what previously worked. Despite that, the series still put out a new game every single year (and two of them in 2011!), which is pretty wild for a franchise which was struggling with an identity crisis, and I imagine the breakneck release schedule didn’t help any with that.
Call of Duty: 11 Games (Xbox 360)
Games: Call of Duty 2 (2005), Call of Duty 3 (2006), Call of Duty 4: Modern Warfare (2007), Call of Duty: World at War (2008), Call of Duty: Modern Warfare 2 (2009), Call of Duty: Black Ops (2010), Call of Duty: Modern Warfare 3 (2011), Call of Duty: Black Ops II (2012), Call of Duty: Ghosts (2013), Call of Duty: Advanced Warfare (2014), Call of Duty: Black Ops III (2015)
We all knew that Call of Duty was going to make this list. A new Call of Duty game each year is one of the universe’s constants; we are all truly fucked when Activision finally decides to take a year off. Looking back, this series was absolute fire during this era, as the run from Modern Warfare to Black Ops II gave us some of the best first person shooters of all-time.
Note, the Xbox 360 port of the original Call of Duty does not count for this list, as it was ported six years after it originally released.
Call of Duty: 12 Games (PlayStation 4)
Games: Call of Duty: Ghosts (2013), Call of Duty: Advanced Warfare (2014), Call of Duty: Black Ops III (2015), Call of Duty: Infinite Warfare (2016), Call of Duty: WWII (2017), Call of Duty: Black Ops 4 (2018), Call of Duty: Modern Warfare (2019), Call of Duty: Black Ops Cold War (2020), Call of Duty: Vanguard (2021), Call of Duty: Modern Warfare II (2022), Call of Duty: Modern Warfare III (2023), Call of Duty: Black Ops 6 (2024)
Yeah, that’s right, like Assassin’s Creed, Call of Duty is so prolific that it manages to smash its own, absolutely insane records, despite multiple revolts from their hardcore fans during this console generation. The craziest part is that there very well could be more games releasing on PS4 in future, so this number may end up getting higher in the next couple years!
Note, I am not counting Call of Duty: Warzone as a separate game, as it is a stand-alone multiplayer mode that is included in the mainline releases.
Traveller’s Tales Lego Franchise: 15 Games (Xbox 360)
Games: Lego Star Wars II: The Original Trilogy (2006), Lego Indiana Jones: The Original Adventures (2008), Lego Batman: The Video Game (2008), Lego Indiana Jones 2: The Adventure Continues (2009), Lego Harry Potter: Years 1-4 (2010), Lego Star Wars III: The Clone Wars (2011), Lego Pirates of the Caribbean: The Video Game (2011), Lego Harry Potter: Years 5-7 (2011), Lego Batman 2: DC Super Heroes (2012), Lego The Lord of the Rings (2012), Lego Marvel Super Heroes (2013), Lego The Hobbit (2014), Lego Batman 3: Beyond Gotham (2014), Lego Dimensions (2015), Lego Marvel’s Avengers (2016)
Okay, I knew that the number of Lego games on PS4 felt kind of low, but fifteen games on Xbox 360 is absolutely nuts. The different franchises helped to break things up and allow you to engage with the properties you cared about, but it’s no wonder this game formula became so over-saturated when we had this many games in eight years!
Note, Lego Star Wars: The Complete Saga does not count for this list, since it is a re-release of the first two Lego Star Wars games. Bionicle Heroes also does not count, since it is not following the “Traveller’s Tales Lego game formula” that binds this disparate franchise together.
Just Dance: 18 Games (Wii)
Games: Just Dance (2009), Just Dance 2 (2010), Just Dance Kids (2010), Just Dance 3 (2011), Just Dance Wii (2011), Just Dance Kids 2 (2011), Just Dance Wii 2 (2012), Just Dance 4 (2012), Just Dance: Disney Party (2012), Just Dance 2014 (2013), Just Dance Kids 2014 (2013), Just Dance 2015 (2014), Just Dance 2016 (2015), Just Dance: Disney Party 2 (2015), Just Dance 2017 (2016), Just Dance 2018 (2017), Just Dance 2019 (2018), Just Dance 2020 (2019)
GOOD GOD, eighteen games in a ten year period!?!! Some of these games literally released within less than a week of the previous entry! I knew that the Just Dance games had a bunch of releases, but I never would have imagined that it was that prolific. To me, the wildest part about this is that Just Dance didn’t start releasing games until three years into the Wii’s lifecycle… can you imagine how many more games there would have been if we had gotten three more years of releases?
Note, I am not including Just Dance Summer Party, as it is basically a re-release of Just Dance 2. Likewise, Just Dance: Best Of is straight-up a greatest hits compilation with minimal changes made to the formula. I chose to include the Kids and Disney Party games on this list, as they are fundamentally identical to a mainline entry, just with kid-centric soundtracks. Also, Just Dance Wii and Wii 2 were Japan-exclusive, but that counts as far as I’m concerned!
Singstar: At Least 39 Games (PS2)
Games: SingStar (2004), SingStar Party (2004), SingStar Anthems (2006), SingStar Rocks! (2006), SingStar Norske Hits (2007), SingStar Pop (2007), SingStar Popworld (2007), SingStar Pop Hits (2007), SingStar: Die Toten Hosen (2007), SingStar Svenska Hits (2007), SingStar Svenska Hits Schlager (2007), SingStar ’80s (2007), SingStar Amped (2007), SingStar Rock Ballads (2007), SingStar Deutsch Rock-Pop Vol. 2 (2007), SingStar Bollywood (2007), SingStar R&B (2007), SingStar: Morangos com Açúcar (2008), SingStar ’90s (2008), SingStar Summer Party (2008), SingStar Pop Vol. 2 (2008), SingStar Hottest Hits (2008), SingStar Boy Bands vs Girl Bands (2008), SingStar Country (2008), SingStar Legends (2008), SingStar Singalong With Disney (2008), SingStar ABBA (2008), SingStar Queen (2009), SingStar Motown (2009), SingStar Take That (2009), SingStar Vasco (2009), SingStar Latino (2009), SingStar Kent (2010), SingStar The Wiggles (2010), SingStar: Fussballhits (2010), SingStar Portugal Hits (2010), SingStar SuomiHitit (2010), SingStar Studio 100 (2010), SingStar Chart Hits (2010)
WHAT THE ACTUAL FUCK!?!?!!! I knew that there were a bunch of SingStar games, but I had no idea the franchise was this fucking unhinged. By the way: 39 games is an estimate based on what I could find, there very well could be nearly double that number!
It’s worth mentioning that this particular list was a massive pain in the ass to collate. No one can seem to agree which SingStar game was released when, or how many of these games there even are. Some games were region-exclusive, and even international releases will often have different tracks in different territories. Wikipedia doesn’t even have a complete list, and everywhere I looked for lists of what games had been released, I would find new entries I’d never heard of, while others were missing from their lists… what the fuck is going on here???
Honestly, I throw my hands up to this one, SingStar has defeated me. Backloggd says that there were 61 games released on PS2 in a six year period, and I’m just going to take their word for it. God help us if there is a video game franchise with even more entries in one console generation…
And with that, we have completed another Love/Hate series here on IC2S! I’m so glad that I managed to finally get through the Halo games – like I said at the start, I’ve had a lot of enthusiasm for this series, long before I got a chance to play them for myself. As you can see with my Top 100 Video Games of All-Time list, Halo 3 was such a well-crafted shooter that it made the list, and Halo 2 even cracked my top 25, which is pretty wild for a game I played for the first time only a few months prior! Funnily enough, my son has somehow found himself interested in Halo after getting some of the Mega Bloks figures. During the course of these playthroughs, we had a few magical evenings where he would sneak down past his bedtime and excitedly watch me play some Halo for a little bit, delighting in seeing Master Chief kick some ass before being sent back to bed. Hopefully I’m instilling in him some of that same wonder that first made me fall in love with this franchise.
As a bonus, I started 2025 with a throw-back session of Halo 3 multiplayer with friends. It was absolutely glorious, we all had a blast fragging each other. I honestly think that these games’ multiplayer modes might be even better today than they were on release – it’s so refreshing to play a multiplayer shooter that doesn’t have any battle passes, live service bullshit, paid cosmetics, daily/weekly challenges, etc. It’s just pure, unadulterated fun, tuned just the way you like it, thanks to Halo‘s fantastic custom game options!
Halo Games Ranked
Here is how I would rank the mainline Halo games’ campaigns:
If you read all of my Love/Hate articles, then I feel like these rankings should be pretty self-explanatory. However, these rankings would be a bit controversial in the Halo fandom, so…
S-tier: Halo 2
Halo 2 is simultaneously the most unabashedly fun game in the franchise, and expands the narrative scope to a far grander and cinematic degree. Is it more linear? Sure, but I do not particularly mind when we get linear games like this (also, I think people overstate how open the original Halo was). Halo 2 is a fantastically-curated injection of fun.
A-tier: Halo 3
Gameplay-wise, Halo 3 is probably the tightest, most well-balanced, and best-developed campaign in the franchise. However, its narrative is pretty weak for a trilogy-closer, especially in comparison to its predecessor, which makes me less-enthusiastic about it. I love a satisfying ending, so Halo 3‘s weaker narrative is a legitimate mark against it for me.
Halo Infinite at the top of B-tier and ahead of Combat Evolved is probably my most controversial opinion on this list, but I loved its gunplay that much. If not for the open world hurting the game’s level design, this could have had a serious shot of hitting A-tier, that’s how much fun I had with it.
For a lot of Halo fans, Combat Evolved is their favourite game in the franchise, so seeing it rank below Infinite is probably infuriating them right now. I’ll reiterate what I said before: the level design is just not fun to play. Between confusing levels with reused assets making it difficult to tell where you’re supposed to go, and repetitive encounter design, I spend way too much time in Combat Evolved not enjoying myself to truly love it. That said, it laid a rock-solid foundation and I really have to give it credit for how revolutionary it was on release.
Halo: Reach was somewhat disappointing to me. Its narrative and characters just didn’t resonate with me, and the fairly substantial changes to the series’ gameplay makes it less fun to play than Halo 3 was for me. It just kind of plodded along and then, suddenly, it was over. It definitely gets better as it goes, but I didn’t like it anywhere near as much as I wanted to.
C-tier: Halo 4, Halo 3: ODST
Halo 4 operates kind of like fridge logic: you enjoy yourself when you’re playing it, but when it’s all over and then you think back on it, you decide that you enjoyed it less and less. It’s decent, but definitely a step down after one of the greatest game trilogies of all-time.
Halo 3: ODST down this low is probably the second-most controversial opinion on this list. Some people will say that this is their favourite campaign in the franchise, and claim it’s so deep and emotional: what game are you people playing that I missed out on? I cannot stand the characters’ dialogue, the semi-open world sections are dull, and the combat encounters are poorly-balanced.
D-tier: Halo 5: Guardians
Halo 5 was obviously going to be at the bottom of this list, to the point where I almost considered putting a tier between C and D and calling it “comically empty space to emphasize how much Halo 5 sucks”. It’s a bad Halo game in particular, but it’s not even a good co-op shooter either.
Halo Weapons Ranked
There are a lot of weapons over the course of this series, so naturally I wanted to rank them. Note that I am not ranking each individual weapon for each time it appeared in a game; rather, I am only using the best version of each weapon, which will be noted on the image. Some weapons are technically “different” weapons in subsequent entries, but if it’s just “_____ with a different name”, I’m just going to cover the peak version of that gun. Some weapons don’t really have a “peak” version, so I’ll go with the game that introduced them instead (eg, the sniper rifle is great and basically the same in every Halo game, so I’ve assigned it to Combat Evolved). Finally, Halo 5 and Infinite have “upgraded” versions of each weapon, which I’m ignoring entirely, since they would throw off the entire list.
Okay, got it? Here’s my ranking of the weapons:
There’s no way in hell that I’m explaining all these individually, so I’ll let this list speak for itself. However, I will break these down by game to see which one has the best weapons! There are 60 weapons on this list, but I’m going to exclude the 7 grenades since they can’t really be associated with one particular game, for a total of 53 weapons across 8 games to look at. Points will be awarded with the first place (M90 Shotgun) getting 53 points, the second place (Beamrifle) getting 52 points, and so on.
So, with that said, here’s how the points broke down:
Halo: Combat Evolved: 169 points (42.25 average)
Halo 2: 253 points (36.14 average)
Halo 3: 255 points (23.18 average)
Halo 3: ODST: Literally fucking zero, lol.
Halo: Reach: 151 points (16.78 average)
Halo 4: 249 points (27.69 average)
Halo 5: Guardians: 67 points (33.5 average)
Halo Infinite: 287 points (26.09 average)
Some observations from this data:
Halo: Combat Evolved has only a few weapons that have stood the test of time compared to its sequels, hence its fairly low point total. However, those weapons that have continued to stand out are top-tier (literally, that game’s shotgun is insane and topped this list without question).
Perhaps unsurprisingly, Halo 2‘s weapons have also really stood out for being great, with the second highest overall average and a very high point total. I would say that, arguably, this would make it the strongest overall roster (if not for the completely outclassed Brute Plasma Rifle, this game’s overall average would be nearly identical to Combat Evolved).
Halo 3 is, unfortunately, brought down by its glut of very mediocre weapons, which tank its overall average. It’s probably got the best-balanced weapons of the entire franchise, but it doesn’t really reflect well on this list, because many of its weapons end up getting poached by other entries in the franchise where they performed better.
Halo 3: ODST getting zero points doesn’t surprise me much. No weapon in that game really stood out to me, and it plays worse than Halo 3, so this was kind of inevitable.
Halo: Reach has a lot of unique weapons, so it was inevitably going to get some points here, but having the lowest overall average and a very low point total shows just how “good” these additions were. If not for a series-best Needler, things would be pretty dire.
Halo 4 also introduced a lot of new weapons, four of which ended up being personal favourites, which give it a solid overall average. The guns here are pretty good, what else can I say? Oh, one thing to note though: if I was counting grenades, then Halo 4‘s average would get tanked, because Splinter and Pulse grenades SUCK.
Halo 5: Guardians only had two entries on this list: the most overpowered Plasma Pistol in the franchise, and the Splinter Turret. All of the other Promethean weapons were more interesting and fun in Halo 4, so this game gets absolutely screwed as a result… which is good, because it’s what it deserves.
Like 4, Halo Infinite introduces a glut of new weapons to the franchise, but most of these are incredibly fun to use, hence its highest overall point total. However, it has a fairly low overall average due to the really generic UNSC rifles and the awful Disruptor pistol.
Halo Enemies Ranked
Like the previous category, I’m taking into account only the “best” version of any particular enemy type across the series. I’m also not differentiating the sub-classes of enemies (Elite Zealots, Brute Chieftains, etc), each ranking has taken them all as a whole. The main exception to this are Jackals, which have a few very distinct variants, which I have given their own entries:
And, just for fun, we’ll do the same scoring system as last time (out of 21 total entries):
Halo: Combat Evolved: 96 points (10.66 average)
Halo 2: 27 points (9 average)
Halo 3: 0 points… ouch.
Halo 3: ODST: 9 points, both total and average.
Halo: Reach: 15 points… again, both total, and average.
I definitely need to give some observations from this data since, now that I have it call collated, it’s skewed pretty badly by the small sample size:
It should really go without saying that Halo: Combat Evolved skews these numbers significantly, claiming 9 out of the 20 enemy types on this list. This game established how the core enemy types play (Grunts < Jackals < Elites). In nearly every subsequent game, they’ve either functioned identically, or they’ve been notably worse. It’s amazing how well they captured the fundamental essence of these enemy types right out of the gate, and the game deserves all the accolades for it. However, the Flood enemies drag the total down somewhat – they’re decent as a way to shake-up the core gameplay, but they are very repetitive to fight and you quickly tire of dealing with pod infectors and bursters, not to mention all the ones firing rocket launchers at you. The Sentinels are also really dull and ineffective enemies.
Halo 2 mostly continues the formula established by its predecessor, but it does introduce a couple new enemy types. Most notably are the notorious Jackal snipers. They are potentially lethal, but they’re handled fairly in my opinion and are a pretty ingenious addition to the formula. The Drones are also a fairly unique and underutilized enemy type, but they’re at their best here in this game. Unfortunately, this game also has the Sentinel Enforcers, those annoying-ass, large, shielded sentinels that you have to blow apart piece by piece to defeat. Every time I had to fight these things, it was a total slog. The only thing keeping them from the bottom of the list is that they’re at least an uncommon enemy type.
Halo 3 had zero enemies make the list… which, I guess, isn’t too odd, since it’s basically a trilogy-closer and isn’t introducing anything completely new. In my opinion, its enemies aren’t doing anything particularly new or notable compared to its predecessors or successors.
Halo 3: ODST, on the other hand, actually gets some points this time, for the Engineers. These guys have been very under-utilized through the series, mainly because they aren’t impactful by themselves and have the potential to be annoying when they buff all nearby enemies with an overshield. I didn’t find them that annoying in my playthroughs, hence their fairly middling placement.
Halo: Reach is another game that basically just has the same enemies as before, although it does introduce one new enemy type: the Jackal Skirmishers. These guys aren’t as fun as regular Jackals, but they do shake-up their playstyle substantially – instead of being slow with a big shield, they’re fast with a could small shields. A solid, late-game introduction to the series.
Halo 4 introduced the Prometheans… which doesn’t help it too much, because there were only a couple different types of Prometheans, and they aren’t as fun to fight as the Covenant are. In particular, the Watchers are known for being really annoying, due to running away and resurrecting Knights. I did not have much issue with them in my playthroughs, but I could see them being lower in some peoples’ estimation.
Halo 5: Guardians, we actually have a couple interesting notes here. The Knights are significantly more fun to fight than they were in Halo 4, hence their fairly high placement in B-tier. However, I really disliked the Armiger Soldiers, which are kind of like mini-version of the Halo 4 Knights, which dragged the game’s overall score down.
Finally, we have Halo Infinite, which pulls off a coup by finally perfecting the Brutes. These guys have been a questionable enemy type for so long in the franchise, and have seen so many re-designs to try to get them to work, but I actually really enjoy fighting them in this game. Infinite also features the Skimmers, which show up on occasion and sort of act like the Drones. They don’t make a huge impact, but the Brutes were so good that, funnily enough, they manage to give Infinite the second highest average. Obviously, this is due to the tiny sample sizes, and due to Combat Evolved hogging most of the best enemy types, but funny to note nonetheless.
What Does the Future Hold For Halo?
The future is pretty uncertain for Halo. Halo Infinite‘s launch went well, but it very quickly bled players due to monetization and content issues, and the game has underperformed as a result. 343 Industries has also suffered mass layoffs on both the management and developer level, the studio itself has been rebranded as “Halo Studios”, and they will be using Unreal Engine for any future games rather than Halo‘s traditional, proprietary engine. So… honestly, no one really knows what will happen, but at this point, Microsoft has mismanaged the franchise so badly that there’s no sense in getting too excited for the future.
Personally, what would I like to see for a future Halo game? Well, as much as I enjoyed Infinite, I don’t think it’s the blueprint for the franchise’s future. You can’t just keep making Master Chief fight the Covenant on a Halo ring over and over again. You can get away with a throw-back once in a while, but when that’s done, you’re stuck in the same place you were at before.
I’d also prefer a more curated, linear level design again, but I am fine with the games remaining open world if they can refine the formula and make it more interesting to avoid modern-day open world fatigue. If we can keep the gunplay as good as it is in Infinite, then they’ll already be a long way towards success.
Aaaaaand that’s it for another Love/Hate series! I already have my next one in mind and will begin playing/writing it soon. Writing this one took me a couple months, so don’t expect the next one any time sooner than that. In the meantime, I’ll continue writing and posting here whenever the mood strikes me. (Also, I will continue/finish the Resident Evil Love/Hate series at some point in the future. I have not forgotten it or shelved it for good! I’m just having fun enjoying other things right now!)
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Welcome back to the Halo love/hate series! In this entry we’ll be going over the most recent game in the franchise Halo Infinite. After all the shit 343 Industries had put the fanbase through, expectations were really low for this game, and then got even worse when people saw the reveal trailer, which necessitated a delay to polish the game up for launch. Since then, I’m aware that the game has been through some major highs and lows, so I wasn’t really expecting a whole lot going in. Could 343 finally right the ship and deliver a worthy follow-up to Bungie’s trilogy? Read on to find out…
Love
The Gunplay – As far as I’m concerned, Halo Infinite has the best gunplay of the franchise since Halo 3. Shooting enemies just feels so good. This is largely because your shots feel like they have real impact when they land and there’s some really satisfying feedback that goes along with it. This is best exemplified with the big power weapons, which impact with a massive explosion of fire and colour and a satisfyingly loud bang. Even smaller, standard weapons like the Mauler pack a punch and are really satisfying to blast away your foes with. It feels like they took a cue from Doom (2016) and put a ton of effort into making sure that combat makes you feel like a total badass.
Enemies Have Personality Again! – The Covenant in the first couple Halo games had so much personality, making them into some of the most fun video game enemies to fight. Grunts screaming and running when you started killing their comrades, contrasted with the tactical, honourable combat of the Elites made the game feel like it wasn’t just a simple shooting gallery. This was eroded away over the course of the series, with them eventually just feeling like regular video game bad guys that you need to shoot to win the game. In Halo Infinite though, the Covenant soldiers have so much personality again. This is largely due to them being extremely chatty – you’ll hear Grunts acting arrogant, only to immediately start squealing and freaking out when they see you, Jackals obsessing over collecting your bounty, Brutes yelling taunts, and Elites steeling themselves for battle, etc. All this chatter almost makes me feel sorry as I mow them down by the dozen.
Also, on a somewhat related note, the enemy variety in this game is fantastic. There have been different tiers of each Covenant troop in all previous games, but they’ve been expanded here and are more notably differentiated in my opinion. For example, let’s look at just the Brutes: we’ve got the standard Brutes, multiple variants in heavy armour, guys with jet packs and heavy weapons, chieftains with various weapon configurations, and even melee-only berserkers who rush head-long at you. Oh, and any one of these can have shields and various weapon combinations, making the variety of combat scenarios even among one enemy type truly vast. Good God, I can’t believe I’m saying this, but I actually really enjoy fighting Brutes in this game!
On another related note, I love the UNSC banter in this game. They spout all sorts of cheesy one-liners which perfectly capture the feel of early 2000s video game writing.
New Weapons – As usual, Halo Infinite introduces a bunch of new and remixed weapons and, due to this game’s emphasis on fun gameplay, there are some truly awesome additions. My personal favourites are the Skewer (which fires a massive, impaling spear which one-shots most enemies), the Hydra (which is kind of like a Halo version of the 40k boltgun, with an alt-fire mode that homes in on enemies!), and the Heatwave (a shotgun that allows you to set its spread to go horizontal or vertical, making it much more accurate at longer ranges). Making things even better, most guns have special upgraded versions which you can get, which make them even more devastating to use. Legitimately, the only weapon I don’t like is the Disruptor Pistol, but everything else I will gleefully pickup and mow down the enemy with.
Grappling Hook – Ever since Halo 3 introduced equipment pickups, these games have really struggled to introduce an equipment ability which really sticks with you. The Grappling Hook is easily the best addition to the core formula, bar none. I (perhaps notoriously) hate open world games with dull traversal, but the grappling hook makes swinging about this world quicker and more entertaining, while also opening up space for creative mobility during combat. Making things better, the grappling hook has offensive abilities too, allowing to you grab distant weapons and items, and you can also hook an enemy to swing in for a melee strike. It can also be upgraded to stun enemies, which can be really helpful when you’re getting beat down by a particular guy with a power weapon and need to close the distance to them quickly.
The Story – Halo Infinite‘s narrative is definitely an improvement on the previous two 343 Industries games. While Halo 4 was bogged down by lore and Halo 5 was vapid and rushed, Infinite takes a more cinematic, character-driven approach that makes it feel more akin to Metal Gear Solid 5 than its two predecessors. The overall story here is basically a throwback: you’re on a Halo ring and the Covenant Banished are trying to activate it, so you have to stop them. The villains also have a fairly large role in the narrative and often show up to taunt you directly. So, while they are fairly generic and melodramatic, at least they leave more of an impression than, say, the Didact or Eternal Warden did. It takes a while to get there, but this story does end up being fairly entertaining by the end.
Mixed
Scan Pulse – Halo Infinite introduces a “scan” button, which will send out a pulse which briefly points highlights all weapons, enemies, and interactable objects in the vicinity, and will display where your objectives are. It’s definitely handy, but it also just feels like a crutch: I constantly want to press this button to make sure that I’m not missing anything. The only reason I don’t do it is because that’s really fucking annoying to keep up, so I just resign myself to missing things. That said, there are times where you actually do need it, because you can’t find some random panel where you need to press a button to advance the mission, and it won’t make that clear to you. Maybe it’s just like this because modern games have gotten so big and detailed that it’s way too easy to miss anything important, but it feels like an inelegant solution to the problem.
The Characters – A character-driven story needs its characters, and while they are a bit of a mixed bag, what we get here is an improvement on the last couple games overall. First of all, Master Chief is back to being the effortless badass he was in Halo 2, and those Doom (2016) influences have helped make his dry humour even more awesome. Where things get a bit more mixed is in the supporting cast:
The Pilot is a coward trying to flee, but gets caught up with Master Chief and becomes exasperated as he gets dragged into danger again and again. He can be somewhat annoying as a result, but he does grow on you as the game goes, and at least I can understand and sympathize with him.
The Weapon, on the other hand… I’m really mixed on her. She’s our new AI companion, who is an incomplete copy of Cortana that was supposed to find Cortana, destroy her, and then delete herself. However, upon Cortana’s deletion, the Weapon finds herself still operational, much to her confusion. Her personality is noticeably different compared to Cortana; the Weapon is much more childlike and inquisitive. While she is fairly well fleshed out as a character and I’m glad they’ve gone to the effort to differentiate her from Cortana, she just ends up being kind of annoying to me. Some of this is down to her dialogue, which can be fairly cringey. She’s also our objective-giver, so after every single objective you complete, she’ll say something along the lines of “oh hey we need to go find ____ to advance the story, lets go do it!” This bothers me, because I can just feel the developers prodding me every time she says something like this (which is a lot). Like… it’s an open world, I’ve got camps to capture and soldiers to rescue, I can see my objective markers, just let me do what I want to.
Open World Structure – I am fairly burnt out on open world games, so I was pretty concerned about how Halo Infinite would fare as a result. Luckily, it works out fairly well I’d say, although there are some pretty big caveats to that. One of the most revolutionary aspects of the early Halo games were their massive, open sandboxes, so going fully open-world just feels like an evolution of that concept. I think it’s best summed up this way: playing Halo Infinite is like playing Combat Evolved the way you imagined it in 2001. That said…
Big caveat #1: Halo Infinite is basically a carbon copy of the Far Cry open world structure which has become very tired in the past decade. For most of this game’s runtime, you’re just capturing bandit camps and dealing with a bunch of filler side quests which provide very little incentive to complete them, other than checking off some boxes on your mini-map and allowing you to spawn more powerful weapons and vehicles at captured bandit camps. Surprisingly, this didn’t wear thin for me (perhaps because the game has a fairly reasonable playtime), but if you’ve been playing more open world games than I have, then this may be a bigger issue for you.
Big caveat #2: Halo Infinite has the worst level design of the entire franchise, bar none. Since 343 Industries cannot curate encounters or force you to complete missions in a certain order, objectives are absolutely swarming with enemies, and your missions are extremely generic: press X buttons to expose power cores that you need to blow up, kill all bad guys in the area, blow up X objectives, etc. This would be unacceptable in any previous Halo game, but for some reason, being open world makes this less of an issue for me, even though in the back of my mind I know I prefer a more curated, creative, and diversified approach. The gunplay in this game is just so good that it props up issues like this which would have sunk a weaker game. I think this is why, as much fun as I was having playing the game, I just didn’t find myself wanting to play it as much as some of the other games in the franchise, and my play sessions end up being shorter and more spread out than for, say, Halo 2 and 3.
Hate
Skipping Over the End of Halo 5 is Cowardly – As much as I enjoy this game’s throw-back to classic Halo and its fantastic gunplay, I just cannot get over the fact that it skips over the end of Halo 5 and basically soft-reboots the entire franchise to not have to bother dealing with the consequences of it. For all my problems with Halo 5, the ending was downright bold. Only a handful of humans managed to escape Cortana before she fires EMP bombs at all worlds resisting the AI takeover, blasting them into the stone age. This hinted at a future game that’s scrappier and lower-tech, where we have to scavenge for better weapons and armour, akin to The Terminator. Plus, Halo 5 barely even started to deal with Cortana as our new main villain, so having her die off-screen before Halo Infinite begins is borderline insane and makes this entire extended universe of continuity feel like a joke. Instead, it’s back to the ol’ status quo: Chief fighting the Covenant on a Halo ring. Is that all this franchise will ever be? Because that’s a depressing future if it is…
Granted, Infinite does touch on this storyline in its final hours, but it’s done in such a way where it feels like we skipped over an entire game’s worth of plot and consequences… like, imagine if Star Wars went from Attack of the Clones to A New Hope. It would feel kind of weird and disjointed, right? That’s kind of what playing Infinite is like.
Load Times – Halo Infinite has some of the longest load times that I’ve seen in a game since the PS3 era. The first time I loaded up the game, it legitimately took at least a minute just to get to the main menu. Thankfully, it loads quicker from there on, but if you’re like me and are playing this game for the campaign, there’s an extra “fuck you” in store: the game always loads into the multiplayer menu, so you have to then select “Campaign” and then go through another lengthy loading screen to play that. Thankfully, once you get in-game, there are basically no more loading screens, but it’s still enough friction up-front that I sometimes didn’t even want to bother starting the game up.
The Other Equipment Choices Suck – If there’s one big issue with the grappling hook, it’s that it’s arguably too good… which is actually kind of a problem, because you have other equipment you can use. However, they are so inferior in comparison that they aren’t worth using at all. Like, the first equipment you can switch to is the Threat Sensor, which… highlights nearby enemies. Big fucking whoop. The only time you might want to use this is when an Elite pulls out an energy sword and uses its active camouflage. However, I would literally rather blindly fight an invisible enemy that can one-shot me than go through the convoluted sequence of button presses to switch from the grappling hook to the threat sensor… so that’s exactly what I did. I legitimately never used any piece of equipment other than the grappling hook the entire game, and never felt like I missed out for this.
Rough Around the Edges – Halo Infinite is a game that ended up needing to be delayed for a full year in order to get it into a shippable state… and thank God they did, because the game we got is still pretty rough at times, so I can only imagine what it would have been like if it released in 2020! I’m talking some pretty stiff animations, questionable optimization (substantial frame drops are not an uncommon occurrence), random bugs, weird ragdolling (especially when you die), guns turning into unintelligible blobs that stretch infinitely across the game world, etc. Oh, and there’s one mission where you will be told that you need to visit four beacons, which will be marked on your map and everything. However, these beacons do not allow you to progress until after you’re told about the mission, at which point you are expected to walk forward a little bit to actually trigger it. On two separate occasions, I fast travelled away before the mission triggered without even realizing it, and was then left completely confused about why I couldn’t do anything at these beacons. This could be a minor annoyance, but the area you need to go to to trigger the mission is far away from any fast travel point you will have unlocked up to this point, which turns it into a giant, confusing headache which is far too easy to find yourself mired in.
Overpowered Weapon/Vehicle Spawns – As you complete objectives in Halo Infinite, you will get “Valor” points which allow you to spawn a chosen weapon or vehicle if your Valor is above a specific threshold. Initially this will allow you to call for an assault rifle or a mongoose ATV, but you quickly start getting the ability to call in upgraded versions of the game’s strongest weapons, or even goddamn Scorpion tanks! It’s cool that they give you the choice, I guess…? But, at a certain point, you have to actively choose not to trivialize the game if you want to have fun. It also robs that feeling of excitement in the tank sections in previous games, as it was no longer this surprise awaiting you, and I just kept finding myself starting every mission with the exact same overpowered guns.
Worst Vehicle Physics in the Franchise – You can spawn in any vehicle you want at forward operating bases (FOBs) that you capture. This sounds great, especially since it can take a few minutes to get where you’re going in this open world… however, I usually just hoof it on foot, because the vehicle physics in this game suck, particularly for the warthog and mongoose. Like, they control about as well as ever, but they crash, flip over, and get stuck on the terrain constantly, which I can only assume is due to the open world structure and a lack of polish.
Halo Infinite really surprised me. I had heard that its campaign was decent, but I’m so sick of open world games that I was not expecting much at all. Its gunplay was so immediately fun though that it sucked me in. It may look like there’s a lot of things I hated about this game, but honestly, these are all nitpicks. For literally every single one of these complaints, you can add onto the end “…the gunplay sure is fucking great though”. I had an absolute blast with Halo Inifinite, to the point where open world bullshit and a cowardly plot reset couldn’t even dampen my enthusiasm for the game.
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Welcome back to the Halo love/hate series! In this entry we’ll be going over Halo 5: Guardians. I’ve been well aware of this game’s reputation long before I played it: stories about the marketing being deceptive, the game being full of repetitive boss fights, being downed constantly in co-op, and a despised story. Honestly though, I didn’t dislike Halo 4 as much as some people, so I’m going into this with an open mind. Maybe it can shake-up the series formula in some interesting ways? Maybe all the shit people sling at 343 Industries is unwarranted? Read on to find out…
Love
Meridian – Halo games haven’t really bothered to explore the wider cultures of humanity. That sort of thing is generally relegated to the EU novels. As a result, it was fascinating when the game heads to the human frontier world, Meridian, and we get to see the tension between the UNSC and the colonists. In the Halo universe, the SPARTAN program was developed to crush dissent from separatist colonists. The animosity that the people of Meridian hold towards the SPARTANs is palpable, and the way that the SPARTANs have to be extra polite to avoid pissing them off makes for some legitimate tension. Perhaps the most interesting thing here though is that Meridian’s governor, Sloan, is an AI. This took me by surprise, but it’s kind of brilliant: of course humanity would have AI politicians, it makes so much sense to implement. Making this even more interesting, Sloan is in the early onset of rampancy, making his actions somewhat erratic and making the whole situation even more tense, since he could go off the deep end at any moment.
Quality of Life Improvements – In its efforts to modernize the franchise, Halo 5 has some nice quality of life improvements. One that I particularly liked was that you can now swap seats in a vehicle by pressing A instead of having to go through an animation to leave the vehicle and then manually move to find the seat you want. The game also allows you to give simple commands to your squadmates, which they will follow fairly reliably.
More Movement Options – In line with Halo 5‘s QoL improvements and modernizations, movement has been overhauled to be much faster and more in-line with the FPS games of the day. You can now grab ledges while jumping, do a charging attack or a ground pound, do a quick rocket thruster dodge, aim in mid-air to float momentarily… oh, and you can just sprint endlessly now too. As you would expect, this shakes-up the series’ core game feel and pace substantially.
Mixed
Modernized Controls – When I was playing through Combat Evolved, I kept getting tripped up by its old-school control scheme (R1 to reload and pickup items? L3 to crouch? B to melee? L2 to throw grenade?). FPS control schemes have become so standardized that it’s weird going back to an older game and trying to get acclimated. However… I just played through six Halo games that all retained that control scheme. Going into Halo 5, I was used to that traditional scheme and was completely thrown off when it played exactly like a modern shooter (B to reload/pickup items, L2 to aim down sights, L1 to throw grenade, etc). I didn’t like this at first… but, honestly, this is just me complaining about the game being different. Changing the controls to be more familiar to modern gamers is fine and does not take away from anything. It’s not even like Resident Evil‘s tank controls, where you’re being nostalgic for a fundamentally different way to experience those games: you could remap the controls if you wanted to and it would play the exact same.
Hate
Fucking Loot Boxes – This game has paid loot boxes in it. Do I even need to say more than that? That, by itself, should give you an idea of the sort of bullshit you’re going to be subjected to in this game. Strap in, we’re just getting started here…
It’s a COD Clone – The back half of the PS3/Xbox 360 era was a graveyard for FPS games trying to emulate the success of Call of Duty. Every franchise was bending over backwards to change or dilute its core tone and gameplay systems in order to appeal to the lowest common denominator COD fan. Here’s the thing though: every one of those games that went all-in on mass appeal failed. By the time that the new console generation was rolling around, this was pretty well known and we were getting far less COD clones. Hell, with the dawn of the PS4 and Xbox One, even COD had outstayed its welcome and was facing some pretty heavy backlash. So, I can only imagine that 343 Industries looked at all these failed COD clones and said “We can do worse”. I could feel the influence of Call of Duty on this franchise since at least Reach, but in Halo 5 it is blatant (even down to the aforementioned modernized controls, which basically just bring the franchise into parity with Call of Duty). Nearly every bit of gameplay that was distinctly “Halo” has been stripped away in favour of appealing to the Call of Duty crowd.
The biggest impact of this approach is that the combined arms, open sandbox structure that most Halo games employ (to varying degrees) has been largely eliminated in favour of much more linear shooting galleries. In their place, 343 Industries have instead inserted several bombastic, scripted set-piece action moments that Call of Duty campaigns are famous for. These moments just feel vapid, the sort of noisy light shows that we had largely tired of years earlier. Meanwhile, the linear levels are painfully mediocre, with every level being a series of “kill all enemies in this room to unlock the door, then move onto the next room and do the same, etc”. These moments were always the weak, filler portions of the previous Halo games, so seeing that be the core gameplay loop here is pretty dire. That said, if this was the only problem, then Halo 5 would just be mediocre. However…
Co-op Focus Screws the Game Design – Halo games are famous for their campaigns which can be played through entirely in co-op. I actually was unaware that you could play up to four-player co-op in these games as early as Halo 3, but you honestly would never realize it: the campaign was clearly designed for single-player and is balanced as such. Halo 5, on the other hand, is designed from the ground up with four players in mind, which means that things have changed quite a bit…
Pity Halo 5‘s level design: not only is it getting fucked for being a COD clone, but then the four player co-op comes in to fuck it from an entirely different angle. To accommodate entertaining four people at once, combat encounters are far less focused. Each area feels like a miniature multiplayer arena, where you start the encounter by picking a lane and then clear out all the enemies there until everyone has cleared out their zone. You end up getting swarmed by enemy forces from all angles, including occasions where you have enemies spawning behind you. The game ended up reminding me way too much of Operation Raccoon City, although the core gunplay was good enough that it’s not quite that bad at least.
Since you can be revived now, Halo 5 is simultaneously more forgiving and more punishing than other Halo games. Sure, you can get revived by your partners if you play sloppily, but you also get a lot more overpowered enemy attacks that will either one-shot you (such as the Eternal Warden’s melee attack), or which have splash damage which is difficult to negate (such as incineration cannons, the Hunter fuel rod cannon, etc). Naturally, you are going to hear “I’m down, need assistance!” a lot.
The Story – Halo 4‘s story was a mess, but at least it had a solid emotional core that you could latch onto. Halo 5 ditches much of the sci-fi gobbledygook that plagued its predecessor, but it’s no less confusing for it…
First of all, the narrative is poorly conveyed. The actual plot here is pretty simple: Cortana is back and evil now, Master Chief goes AWOL to try to find her, SPARTAN Locke is tasked with apprehending Master Chief, and they all get caught up in Cortana’s plot to resurrect the Guardians – giant Forerunner robots which were used to enforce order in the galaxy. Good luck keeping track of what’s going on though, because Halo 5 just assumes you already know what’s happening at any given time. Like… to give you an idea of how bad the storytelling in this game is, the game just suddenly assumes that Cortana is evil before we actually have any reason to believe that to be the case. You’re just expected to go along with it, but that’s a massive change that needs some time to breathe. Or how about the Guardians: they’re supposed to be the big threat that the game revolves around, but we never really get a sense of what they do or why they’re so scary. Again, the game just assumes that you already know what’s going on.
Then there’s the inciting incident which puts this entire plot into motion: Master Chief gets knocked out, hallucinates about Cortana, who gives him some mysterious directives, and then he just decides to do what she told him to (to the point of disobeying his superiors to do so). Like… what the fuck? I get that Halo 3 and 4 had weird hallucinations with Cortana, but they never really came across like they were “real”. This here in Halo 5? It’s full-on space magic, I don’t know how else they can really justify it.
Maybe the worst part about this story though is what it does to the Master Chief. He spends this entire game chasing after Cortana instead of dealing with the existential threat of the Guardians… in fact, by chasing after Cortana, he’s actually kind of complicit in everything that happens. You could argue that he was pursuing Cortana, because she was the source of the threat and he needed to eliminate her to stop the Guardians… but that never happens. He encounters her and then they have a chat instead of trying to eliminate the problem. It’s also not like this is the Cortana we knew before; she is clearly an entirely different person now, so it should be easier for him to do what’s needed. Is… is this what 343 Industries were trying to convey from the whole “you’re not a machine” theme in Halo 4? Are they saying that he needed to be way more selfish and damn the rest of humanity for his own interests? Guys… are these tech bros a bunch of libertarians…? Fucking insanity.
The Characters – Related to all the previous issues we’ve already discussed, the characters in Halo 5 suck. Theoretically, it’s kind of cool that 343 Industries brought Master Chief’s squad mates from the Halo novels into the games. Having ODST‘s Buck become a SPARTAN is also a pretty cool move. However, none of this ends up mattering, because none of them have any development, interactions, or characterization beyond “is a soldier”. Even Arbiter’s return isn’t particularly interesting, because he basically does nothing (although I do find it hilarious that they make a point of telling us that he’s a feminist, because he breaks Elite tradition and allows females into his ranks, LOL).
The Eternal Warden is, apparently, supposed to be this game’s main “bad guy”. He’s a Promethean construct who occasionally shows up to oppose you. You end up having to kill the guy like seven or eight times across the course of the game and it becomes tiring very quickly. I also don’t get his part in the story at all. He’s like a rival to Cortana, but she slaps him around like a bitch at every turn. When she vanquishes him at the end, you’d think it would be a big “oh shit, she just killed the powerful bad guy!” moment, but I didn’t feel anything. Dude sucks.
Also, probably goes without saying, but having multiple SPARTANs in your story is lame. Master Chief’s cool, largely because he’s the only man capable of saving the day. When you have an entire squad of SPARTANs, it dilutes that importance and your squad doesn’t feel exponentially more powerful than you did when you were solo.
Technical Issues – Okay, we’ve gotten through the big problems, now onto some smaller fish… This game has some really weird technical issues, the most obvious of which is that enemies will render at a lower frame rate if they’re more than a few meters away and you’re not looking directly at them. I can only assume that this was implemented to keep the game running smoothly and to deal with optimization issues (it reminds me of similar issues in Pokémon Violet). However, this game doesn’t look that good, so I assume that it’s probably a combination of having to accommodate four players and general development incompetence. Oh, and speaking of incompetence, the NPC AI is worthless. You can give commands, sure, but your squad mates will struggle to kill anything, and their pathfinding makes having AI operate vehicles an exercise in frustration. I saw my squad mates get themselves killed constantly, including one particularly funny moment where we had to escape a massive Covenant vehicle. I escaped in a Banshee, only to turn around and see that my squad was still fucking around inside before the whole thing blew up and took them all with it.
Interactive Cutscene “Missions” – Halo 5 has three “missions” which can only really be described as interactive cutscenes. In these sequences, you and your companions are tasked with finding an NPC, talking to them, and then finding another NPC and talking to them. These sequences legitimately last anywhere from thirty seconds to two minutes at most, and make absolutely no sense to me. They even count as full-on missions for the achievements! I’d get it if all cutscenes in the game were done this way, but no, the game has plenty of cinematics, so I honestly do not understand what the hell they were doing with these things.
Halo 5: Guardians was a fucking experience. Moments after the game started, I just sat there and went “Oh. Oh no.” Taken on its own, Halo 5 is a mediocre-at-best co-op shooter with a weak narrative. In the context of this franchise though, Halo 5 is straight-up insulting. As you can see from all the “Hates” listed here, the game was fundamentally compromised on a design level and these issues cascaded to make by far the worst game in the entire franchise. Halo 5 gleefully packs so much of the stuff I hate about the past decade of gaming into its runtime, shedding everything you might have liked about Halo in the process. Oh, and making matters even more annoying for me, in particular: I just made a list of my 25 Worst Video Games of All-Time, and it’s already outdated. Halo 5: Guardians definitely deserves a spot on that list. Is this a bad time to announce that I’m intending to update my best/worst-of lists in about five years time to see how much they’ve changed in that time? Because, unless I play a lot of shit games between then and now, Halo 5: Guardians is sure as hell gonna be on there.
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Welcome back to the Halo love/hate series! In this entry we’ll be going over Halo 4, the first new entry in the series by 343 Industries! I’ve heard really mixed things about this game over the years. On launch, it was lauded, but with the disappointment surrounding subsequent entries, it has retroactively been considered to be shit by Halo fans. Then again, ODST and Reach are loved by Halo fans, and I found them to be fairly disappointing, so maybe the disdain for this game is just complaints about it being different? Now that I’ve finally gotten the chance to play it, read on to find out what I thought…
Love
Graphics and Presentation – If there’s one area 343 Industries have undeniably improved over the previous Halo games, it’s the graphics and presentation. The CGI cutscenes are almost film-quality and the in-game cutscenes are more cinematic than ever. The graphics are also really good for an Xbox 360 game, to the point where I had to triple check that this wasn’t an Xbox One launch game. This game also makes you feel more like you’re seeing the world through the Master Chief’s eyes by having bits of helmet on the fringes of the screen and HUD projected onto his visor. I initially thought that this was going to be distracting when I started the game, but it ends up being really immersive and I stopped noticing it almost immediately.
Okay… I say “undeniably”, but this is also, apparently, a pretty controversial opinion. Turns out that people complain that the environments don’t look good and that there’s the early-2010s desaturated filter applied to everything – I did not notice this even once and I can only assume that this is just a symptom of the “343 can do nothing right!” complaints.
Improved Driving Controls – The driving controls have been refined once again, making vehicle-based gameplay more enjoyable. This is especially true for the Ghost, which is just buttery smooth to drive now.
New Weapons – As usual, Halo 4 introduces several new weapons to try out. Some are certainly better than others, but I particularly love the Binary Rifle, it feels so good to snipe people with it. I also quite enjoyed the Rail Gun for similar reasons, and the Storm Rifle is a cool upgrade to the Plasma Rifle.
Cortana – Jen Taylor is absolutely acting her ass off in Halo 4. Cortana has always been the best character in the previous games, but she’s especially relevant here. The entire emotional core of the game revolves around getting you to care about (and then be worried for) Cortana as she slowly succumbs to Rampancy (a condition in the Halo universe that causes AIs to “die” after around seven years as they become too complex to sustain themselves). Does she feel somewhat different compared to the previous games? Yes, but she’s also reckoning with her impending, inevitable death, and is realizing that she has so much that she still wants to live for. When Cortana’s facing down her mortality and says “They’ll pair you with another AI. Maybe even another Cortana model if Halsey lets them. It won’t be me… you know that right?”, Jen’s performance broke my fucking heart.
Also: call me a gooner if you want, but I actually quite like the redesign Cortana received in this game. It’s not very faithful to her design from the first couple games, and she’s been sexualized in a blatant attempt to try to get you to fall in love with her… but I’d be lying if I said it was not appealing. Hell, one could even argue that, as Cortana has come to develop a legitimate love for the Master Chief, she’s intentionally choosing this design to deepen their relationship to one another.
On that note, a bit of a side-tangent: I think my favourite Cortana design is from Halo 3. After that, I think I’d have to go with Combat Evolved‘s more sassy, punk-looking version of the character, just because of how different it is from the rest of the series. I guess that means that Halo 2‘s design’s my least favourite; it just feels like a half-measure on the way to the Halo 3 design.
Mixed
Prometheans – The new enemy type, the Prometheans, are decent. They may have been introduced a bit too early though: the Flood weren’t introduced until the sixth mission in Combat Evolved, which allowed them to shake-up the gameplay significantly, whereas the Prometheans show up at the end of the third level in Halo 4. The other issue with them is that they aren’t nearly as differentiated in their roles as The Covenant are. Each Covenant unit is very distinct and needs to be approached in a particular way. In comparison, the Crawlers and Watchers aren’t particularly different to fight – they’re both very weak and mobile, with the Watchers occasionally spawning in new enemies and flying away when shot. The Knights are the most differentiated and threatening. Some people really hate them for how they can teleport away from danger. This can be annoying, but I didn’t have too much trouble with this during my playthrough and typically killed them before they could escape. Maybe they’re worse on legendary difficulty, but I can’t really speak to that myself. All-in-all, the Prometheans are fine – I don’t enjoy fighting them as much as I do the Covenant, but they’re still passable FPS enemies.
Hate
The Covenant – Imagine being there for Halo 4‘s release and speculating about where the story would go next. Humanity won the war against the Covenant. The Prophets were dead, the capital city of the empire was destroyed by the Flood, and the Elites were now an independent faction. Sure, there’d probably still be some remnants of the Covenant continuing to fight, but surely we’d be facing off against some other threat, right? Well… minutes into Halo 4, you fight the Covenant as if literally nothing ever happened. They’re even led by Elites again! It’s just so underwhelming to see them dive back into the ol’ status quo for several reasons:
For one thing, Master Chief says that these Covenant seem “more fanatical”, but that does not come across in the slightest. The Covenant we had faced in the Bungie games would literally send suicide bombers at you, I daresay that these ones seem less fanatical in comparison. Like… they couldn’t do something to differentiate them? Even Halo 2‘s Arbiter missions had heretical Covenant who were clearly distinct from the rest of their kin. You’d think that they could make them stand out like that? Or, hell, since their empire is now shattered, maybe their weapons and gear are more ramshackle, or they have less access to heavy weaponry? Literally fucking anything but more of the same…?
They also redesigned the Covenant in this game, and I kind of hate what they’ve done to them. Elites have been bulked up massively, but the Grunts and Jackals especially just look wrong to me, ditching their previous designs in favour of something more reptilian. It makes them look less like a conglomerate of unique, unified species and more like a bunch of lightly-differentiated, scaly, alien bad guys.
Also, I don’t think the game ever explains why these Covenant are fighting us? This could be entirely on me missing some line of dialogue, but they just show up on your drifting spaceship and attack you out of nowhere. It’s not like they were even trying to link up with the Prometheans, because they start slaughtering the Covenant when they first encounter them, only to turn them to their side moments later. Again, maybe I just missed something that explained this, or didn’t read some novel about this faction, but that kinda leads into my next problem with this game…
The Story – Halo 4 has a different tone compared to its predecessors. Combat Evolved and 2 were written like grand, sci-fi military novels. 3 was written like an a blockbuster action movie. In comparison, 4 is written to be this blockbuster, sci-fi space opera. It has a much more melodramatic tone, is more focused on the emotional drama between the characters, and has way more focus on the lore of this universe. This is different, which is not necessarily bad. In fact, I rather like that 343 Industries are trying to put their own spin on Halo: Lord knows that these games’ stories weren’t so good that they couldn’t do with some narrative experimentation. However, the way that they’ve gone about this made Halo 4‘s story more frustrating than enthralling for me…
Put simply, the biggest issue with this game is that way too much of the dialogue boils down to Cortana throwing around lots of sci-fi mumbo-jumbo. Rampancy, Requiem, Infinity, Terminus, the Didact, the Librarian, the Mantle, the Composer… you might get a context clue or a single line of dialogue to explain what these things are, and then you’re expected to keep track of that for the rest of the game, or until the game bothers give you another context clue several hours later. I remember Rampancy from the Halo novels, so at least I understood that part, the Didact is the bad guy, and I eventually figured out that Requiem is the new Forerunner installation we spend most of the game on, but so much of this game’s narrative is utter nonsense if you cannot keep all these terms straight. Hell, even when we find out what things are, I still couldn’t tell you what these things even do. Like, Halo is simple: it’s a location to contain the Flood and, when it fires, it will kill all sentient life. Requiem, on the other hand, is… a prison for the Didact, maybe? I literally do not know why it exists or what the fuck is happening in this game. The Composer is probably the most egregious example of this. I guess it genocides people and then… digitizes them into Prometheans or something? How many people did it kill at the end of the game? Hell if I know.
I’ve heard people accuse 343 Industries of being a studio that makes Halo games, but hates Halo. I really don’t get that impression after playing Halo 4. The way that they’ve written this game, it screams passion for this universe. However, the way it has been written puts emphasis squarely on “the lore”. The world-building and lore were important to the success of the earlier games, but they were not the most important thing, whereas here it feels disproportionate to your enjoyment of the game. If you are obsessed with the lore, read the dozens of novels, and can actually follow all the gobbledygook they throw at you, you might have a really rich experience. If not… man, you are in for a rough time. Halo 4 just feels like an example of “fans do not know what they actually need”: a lot of the time, it’s retreading Halo‘s greatest hits, while obsessing about the finer details that only the biggest Halo nerds would get excited about. As a result of all this stuff, playing through Halo 4 feels like you’re reading through a fucking Fandom wiki.
Also, this probably seems contradictory to my last point, but this game makes some pretty major retcons to the Halo lore. In particular, the Bungie games had heavily implied that the Forerunners were humans (or human-related). 343 Industries have instead elected to make the Forerunners a completely separate species who were at war with humanity at one point. They destroyed human society and bombed us back to the stone age. Then, when they annihilated themselves to contain the Flood, they seeded knowledge into the human genome to eventually create the SPARTAN program and take over the galaxy… which is just fucking insanity, holy shit. It can be easy to miss or gloss over this stuff because of how nonsensical the narrative is, but when you piece it all together, it’s pretty baffling and an awful change to the series’ lore. Like… I still think that 343 Industries are passionate about Halo… like any fandom though, they have a particular way of viewing that lore, which they’ve expanded and pushed in their preferred direction, and that’s rubbed fans who have their own interpretations the wrong way.
On a completely different note, the game’s writing is ham-fisted beyond belief. At one point, Cortana says to Master Chief “Before this is over, promise me you’ll figure out which one of us is the machine.” This is a pretty cool line, but it just comes out of nowhere. There’s never been any concern between them about the Chief being too machine-like; it just feels like it was written for the trailers. Then, at the ending, one of the characters awkwardly mentions that soldiers aren’t machines, which was already making me roll my eyes for how unsubtle it was, but then Master fucking Chief himself goes “She said that to me once. About being a machine…” I slapped my fucking head in frustration. WE GET IT, your theme isn’t nearly as clever as you seem to think it is.
Oh, and then there’s the grating melodrama. The most egregious example of this is Captain Del Rio. Why is this guy such a fucking dick to Master Chief every time we see him? He’s being confrontational and screaming at the dude who literally won the war for him only five years earlier. It’s a cheap way to add some stakes, but it just comes across as dumb and lazy, especially since most Halo characters to this point have acted professionally and intelligently at all times (except for you, ODST…).
All that said: the game does start getting good in the last couple levels. When the third act kicks off, they’ve finished introducing new gobbledygook, so we’re able to focus on the actual important shit: Cortana, Master Chief, and the existential threats they’re facing. I might even be open to the argument that Halo 4 has the strongest finale of any Halo game, because a solid emotional core and strong characters trump all the lore in the world. And this is despite me having no fucking clue what is even happening for most of this finale: it doesn’t matter that I have no idea how Cortana somehow magically saved Chief from nuking himself, because I can understand the emotional stakes between these characters, which are far more interesting than anything else in the game.
Sound Design – I’m not really someone who notices or properly appreciates the sound design in a game. Take that how you will, but that tells me when I do notice it that they’re either doing something amazing, or they’re doing something really bad. I had a few issues with the sound design in this game, but many of the guns in particular just sound wrong. There’s also this weird difference between a gun’s sound when you’re using a scope vs hip firing it… like, are you sticking your fucking head into the scope? Why does the Lightrifle sound so weird in ADS, but normal in hip fire?
That said, I will give them credit for the good ol’ shotgun though: that thing sounds explosive when it fires.
Halo 4 was… fine. I didn’t dislike it nearly as much as some people did, but it certainly didn’t deserve the high 8s and 9s it got from reviewers on launch either. I honestly think that most of the distaste for the game is a combination of retroactive sour grapes after being disappointed by 343 Industries in latter entries, and for being different from the Bungie games. It’s fine, which isn’t exactly a glowing endorsement, but it’s better than some people give it credit for.
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Welcome back to the Halo love/hate series! In this entry we’ll be going over the final Bungie-developed Halo game, Halo: Reach! Going in, this was probably the Halo game I knew the least about, but I had always heard that it was a solid swan-song for the Bungie games. How does the game hold up today? Read on to find out…
Love
Customizable Avatar – Perhaps the coolest feature of Halo: Reach was one that I didn’t realize until I was most of the way through the game. It turns out that Noble Six, the SPARTAN you play as, is customizable and based on your multiplayer avatar. I set that avatar months before I actually got around to playing the game, so I had no idea until very late in the game that my character was personalized, but it’s such a cool feature and a great way to pay tribute to the fans.
Perks – The equipment system from Halo 3 has been reworked in Reach and, in my opinion, it’s much more impactful now. The equipment pickups are now replaced with Call of Duty-style perks which operate on a quick cooldown and can be swapped out if you find a perk pickup in-game. There’s some pretty cool options, like the armour lock and jet pack, but (perhaps most notably) these perks finally bring sprinting to Halo (albeit, on a pathetically-short time limit, but at least it speeds up traversal a bit).
Long Night of Solace – This is the first level where Reach really stands out from its predecessors. A very big chunk of this level has you piloting a space ship and getting into full-on dogfights with Banshees and Phantoms before flying into a Covenant supercarrier and battling your way through the interior. It’s a level that is epic in scope and execution. While I can see some people getting annoyed with this level, since the flying combat isn’t as good as dedicated flight game and it can drag on a bit long, but it’s such an ambitious and epic level that I have to give it major props.
Lone Wolf – Speaking of memorable levels, the finale of Reach is really memorable. You’re given minimal information about what to do (Current Objective: Survive) and then get swarmed by Covenant. Eventually, you’ll come to realize that there is no happy ending, all you can do is take down as many Covenant with you as you can. There’s nothing stopping you from just chucking a grenade at your feet and ending it immediately, but it’s got that Call of Duty Zombies compulsion that makes you want to hop right back in and see if you can make it further next time.
Exploding Grunts – A pretty small, but funny change is that Grunts’ backpacks can explode, sending them flying wildly when they die. I love the Grunts for being a bunch of cowardly goobers, and this cartoonish death just makes them even more endearing.
Mixed
Elites Are Back – Look, I know I’ve ragged on the last couple games for being less fun because the Elites were replaced by the less-intelligent Brutes, so I should be happy that the Elites are back here. However, if you put a gun to my head and asked me if I thought that their return was a noticeable upgrade, I honestly don’t think it’s made much of a difference. Hell, even the Brutes don’t feel much like Brutes in this game, they’re just Elites with a different character model. I am not sure why exactly these enemies do not have that spark that made them stand out in the first couple games, but I think it comes down to changes in the enemy AI. Enemies and allies felt like they had personality and intelligence before, but I never really got that sense here.
New and Rebalanced Weapons – Reach has quite a few new weapons and has rebalanced a lot of the old weapons, although I’m pretty mixed on both of these aspects.
In terms of the new weapons, my favourite is the Plasma Repeater, which is just a straight upgrade on the old Plasma Rifle. The grenade launcher is also pretty cool, although it’s kind of surprising that it took this long for one to get introduced. However, other new weapons, like the Concussion Rifle, Needler Rifle, and Focus Rifle kinda suck. Every time I ran out of ammo and had to pick up one of these weapons, I made a stink face and then ditched them as soon as I could.
For the rebalanced weapons, the magnum is awesome again, one-shotting most unshielded enemies with a headshot. The needler is also legitimately good here. In every game thus far, I would try it out just to see how it was, but this was the first time where I would actively seek it out. Unfortunately, the plasma sword is kind of shit once again, especially compared to the brute hammer (which has also been nerfed).
Noble Team – Your squad of SPARTANs in this game, Noble Team are… alright. They have significantly more interesting personalities than the goofball soldiers from ODST, but they don’t have any sort of development over the course of the story. They’re introduced with an archetypal character trait, and then that defines them for the rest of the game. Consequently, I didn’t really care all that much when they start dying, because there’s nothing really to latch onto.
Story Structure – The fall of Reach is supposed to be this massive defeat for humanity, where one of our greatest strongholds was crushed by the Covenant as they scour the entire surface of the world from orbit. Unfortunately, Reach rarely lives up to this promise, as the game doesn’t feel all that desperate. This is especially true in the first half of the game, where you’re basically just killing time fighting random Covenant patrols. It feels less like a world-ending tragedy, and more like a bunch of SPARTANs getting themselves killed unnecessarily like a bunch of dummies. It’s not until the last couple missions that it finally feels like there are some stakes, but even then it’s not that effective. Hell, I completed the last mission, then the credits started rolling and I literally said “Wait, that’s it?” Sure, it’s followed up by “Lone Wolf” as the epilogue, but I legitimately thought I had a couple more levels of content to go, because the ending felt like an anti-climax.
Hate
The AI – As I alluded to earlier, the AI in Reach is pretty poor by Halo standards, especially for your allies. That’s a particular problem in this game, since you almost always have a fellow SPARTAN with you instead of some random marine, so it feels even more egregious when they get themselves stuck somewhere and then have to be conspicuously teleported in front of you to keep up. Vehicle pathfinding is a bit better than it was in ODST, but I had one moment in the final level where the AI was driving a mongoose and then they said “We have to jump it!” over a broken bridge… before proceeding to gingerly drive over the ledge. I got lucky and avoided dying because I got caught on the scenery, but it was a pretty embarrassing moment (especially because my AI companion was stuck at the bottom of a canyon, making their forced teleport later even more noticeable).
No Dual-Wielding – A big reason why the weapons have been rebalanced again in Reach is because Bungie removed the option to dual-wield. This has clearly been done for balancing reasons (you can just make the weapon good, instead of having to make it only good when dual-wielded)… but fuck that. I’m only really analyzing these games on their single-player, so let me have my power fantasy. Dual-wielding in Halo 2 and plowing through a horde of grunts was one of the biggest power trips of my life. I kind of hate this competitive multiplayer mentality some developers have with their shooters, just let players have fun.
Honestly, I was pretty disappointed by Halo: Reach. Ever since this game came out, I figured it would be the definitive Halo game; Bungie’s last, big hurrah before the franchise went to 343. While I did enjoy it more than ODST, it’s missing that special spark that made Halo 2 and 3 so much fun to play through. The industry had changed fairly substantially in the decade between Combat Evolved and Reach, and I can’t help but feel like the growing dominance of Call of Duty, and competitive multiplayer in general, influenced the changes in this entry. Maybe it’s better on the multiplayer side of things, but as far as the campaigns go, Reach was a pretty big disappointment for me, even if the game itself is not bad.
Anyway, onto the 343 Industries games, I’m sure those will be much better…
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Welcome back to the Halo love/hate series! In this entry we’ll be going over our first spin-off title, Halo 3: ODST! This was a weird little release: the series’ overarching narrative seemed to have concluded, so there was a lot of questions about how Halo would be able to continue. Bungie then announced this game, which had started out as an expansion to Halo 3, but would evolve into its own stand-alone experience. The resulting game is pretty interesting for a number of reasons, not least of all because it’s the first game to not feature Master Chief in any capacity. Would the game hold up without the franchise’s hero? Read on to find out…
Love
Experimentation – Halo 3: ODST shakes up the franchise’s normal campaign structure in some pretty fundamental ways, which make the game feel very unique among Halo titles. The campaign is split into two timelines. The A-plot is the present, where you play as “the Rookie”, who has become isolated from his squad and is trying to figure out what happened to them as he makes his way across New Mombasa. The B-plot involves a bunch of flashbacks to the Rookie’s various squadmates as they battle Covenant forces. The B-plot plays out through traditional Halo levels, but the Rookie’s sections occur through a semi-open world as you navigate through the isolated streets of New Mombasa. In these sections, you have to decide how to reach objectives while confronting or avoiding any Covenant patrols you may come across. It’s a fairly unique structure for a Halo game, let alone a stand-alone DLC expansion, and I have to appreciate that they at least tried to do something different here.
The Opening Drop is Intense – You name a game ODST (which stands for “orbital drop shock trooper”), and you’d better believe I expect to get dropped from orbit at some point. In that regard, ODST does not disappoint. It opens with some quick character introductions, and then it’s feet-first into hell through a visually-spectacular and chaotic opening that is easily the highlight of the game.
Mixed
VISR System – ODST introduces the VISR optical HUD, which has some fairly interesting functionality. It plays similarly to Ghost Recon Advanced Warfighter, outlining objects in the world and highlighting friendlies and enemies. With the larger, more open environments, it can be very helpful to have a way to point out where to go next. However, I can’t help but feel like it is a bit of a crutch, like detective vision in so many games of this era: the environments do not clearly communicate where you need to go, so instead the game relies on waypoints and colour-coded highlights to do that for you. It also doesn’t help that the game often makes VISR basically unusable, since it becomes a visual hinderance in bright areas, forcing you to toggle it on and off regularly.
Hate
The Writing and Characters – For all its military realism, Halo has some pretty cartoonish characters between Master Chief’s confident badassery and Sergeant Johnson’s cigar-chomping antics. However, they’re also contrasted against more serious characters, like Jacob and Miranda Keyes, Lord Hood, the Arbiter, or even Cortana to a certain degree. However, ODST is clearly inspired by Joss Whedon’s writing style on Firefly, even down to casting Nathan Fillion, Adam Baldwin, and Alan Tudyk in the lead roles. As a result of this influence, the entire cast are a bunch of cartoonish jokers who can’t take anything seriously or professionally (which gets especially egregious when Nathan Fillion and Tricia Helfer are arguing about relationship drama over comms in the middle of a warzone).
On top of this, ODST is framed like there’s a big mystery that you’re building towards, but the story itself is really uncompelling. The flashback sequences don’t really move the story forward at all, they just kind of exist to pad the runtime. It’s not until the last level that the story actually has some interesting developments, but by that point it is way too late to salvage this narrative. Let’s put it this way: the first three Halo games were about telling a story. This game is just fleshing out the series’ lore.
The Level Design – While I will give ODST credit for trying something different with its structure, I really hate the move away from a more curated, linear level design. The streets of New Mombasa are huge and weirdly empty. It’s not unusual to spend a long time wandering around without even running into a Covenant patrol. I can see how this might be immersive to some players, but for my part, I found this incredibly dull. I’ve complained before about open world design and how it makes the minute-to-minute gameplay boring, so you can imagine how annoying ODST‘s slow, monotonous traversal gets for me.
Health Regeneration System – ODST goes back to Combat Evolved‘s health system, where you have a regenerating shield and a health bar to maintain. However, one key difference is that the game will freak out at you long before your shield has actually gone down. This puts you in a stressed state way more often than previous Halo games. However, when you come to realize that the game is being over-zealous with its shield warnings, you kind of just ignore them and push more aggressively, making this new warning system kind of worthless. It also doesn’t help that health stations are really badly sign-posted, so you can go for long stretches of gameplay without a chance to heal while playing as the Rookie.
The AI – Unfortunately, ODST is the first Halo game where the AI feels straight-up dumb:
First of all, the friendly AI are incredibly stupid, especially when they’re in vehicles. Their pathfinding is awful, often getting stuck on objects or charging at a tank and then getting you blown up with no real opportunity to prevent this from happening. On more than one occasion, I had a story-important squad mate get stuck and then (very obviously) have to be teleported ahead of me to prevent them from getting left behind.
Perhaps worst of all though is the enemy AI. In ODST, you’re not playing as Master Chief, so you should feel out-gunned by Covenant forces. The game certainly throws overwhelming numbers of Covenant at you, but the game feels like it has gimped them compared to previous Halo games. Throughout this game, I felt like I was making reckless plays which would have gotten me killed in any previous Halo game, but I was getting through because enemies would just refuse to shoot me, or have terrible aim. Making matters worse, I was being forced to make these reckless plays, because I just wasn’t being given the resources needed to deal with all these enemies. I dunno who thought it made sense to have me fight two Wraith tanks and two squads of Covenant forces at the same time with just anti-infantry weapons, but the fact that I was able to pull through this with little difficulty is kind of ridiculous.
Halo 3: ODST left me thoroughly underwhelmed. I wasn’t really sure what to expect going in, but I really dislike all the ways that this game attempted to shake-up the Halo formula. I appreciate the attempt to differentiate this game, and I’m sure that there are people who love what they were going for here, but nothing they’ve tried here makes Halo more fun to play for me. As annoying as Combat Evolved could be, I still enjoyed myself there more than I did here.
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Welcome back to the Halo love/hate series! In this entry we’ll be going over the series’ third entry, Halo 3! We’re now past the point where I had any first-hand experience with these games: I remember this game being an absolute blockbuster at the time, and it was the #1 shooter in the world for a few years until Call of Duty 4: Modern Warfare took over the genre, but I never got to play it. Could it resolve Halo 2‘s cliffhanger in a satisfying way? Read on to find out…
Love
New Weapons – As usual, a new Halo game means new weapons, and they’ve introduced some really cool ones here:
Best of all is the brute hammer. This thing is ridiculously satisfying to use. It’s devastating, one-shots pretty much everything, has a large area of effect blast when it hits (which will kill multiple clustered enemies), sends debris flying on impact, and makes a really loud noise. It’s the quintessential distillation of the brutes as a species, and it’s fantastic.
The spiker and mauler are both really cool options. The spiker is kind of like an SMG version of the needler, it’s really reliable and enjoyable to use. The mauler, meanwhile, is a shotgun pistol. Both of these guns are dual-wieldable, which just makes them even more fun to use.
The Spartan laser is also a really cool power weapon that puts out a devastating amount of damage. However, it remains fairly balanced due to its long charge time before it fires, meaning that you have to keep the target in your sights or waste the shot.
Oh, and the game now lets you pickup gun turrets from around the environment and use them as power weapons! It’s as badass as it sounds to pick up a heavy machine gun or a plasma cannon and then spend the next minute mowing down everything in sight.
Weapon Rebalancing – Halo 2 suffered a bit due to its wildly unbalanced weapons. You could maybe argue that this was intentional, but Halo 3 is clearly trying to make every weapon viable. There aren’t really any weapons here that I wouldn’t want to pickup. Most of the weak guns from Halo 2 have been improved massively: the assault rifle is back and actually useable, the shotgun is worthwhile again (although it’s still nowhere near as good as it was in Combat Evolved), the plasma rifle is far better against non-shielded enemies, the Brute shot is significantly better… really, the only weapon that has clearly been nerfed to oblivion is the energy sword. The lunge distance has been made extremely short, and while it does one-shot most enemies, I’ve had instances where I’ve had to hit a Flood combat form five times to get a kill on normal difficulty… HOW???
Epic, Free-Form Combat Scenarios – Gone are almost all the corridor shooting levels from previous Halo games: Halo 3 loves to revel in the large combat arenas where you fight alongside allies and use various vehicles to combat hordes of enemies. Probably the biggest highlight is driving a mongoose ATV while your allies blast rockets at enemy vehicles… and then a scarab walker shows up and you need to disable it, jump on board, and then blow it up from the inside. Combat is straight-up epic in this game!
Mixed
Equipment Pickups – Halo 3 introduces several equipment pickups, which operate similarly to the temporary armour upgrades you could find in the previous two games (bubble shield, deployable cover, auto-turret, invisibility, invincibility, flashbang, etc). The big differences are that they are way more common and you get to choose when to use them. They’re… alright. They certainly work, but they do not feel all that important to the combat flow (at least on normal difficulty: I can see bubble shields and deployable cover being way more impactful on legendary). A lot of these equipment pickups are stationary once used, which isn’t really something you want to be doing in Halo most of the time. It’s also really hard to see them; I kept accidentally picking them up by walking over them… I could count the number of times I intentionally grabbed an equipment pickup on one hand and still have fingers to spare for your mom.
Hate
The Story – Halo 3 is a suitably epic finale for a story about a galactic war and genocidal alien parasite. However, as it goes on, I can’t help but have several nagging issues about it which sour it somewhat:
First of all, the grand, sci-fi world-building of Combat Evolved and Halo 2 is pretty much gone. We learn nothing new about the Covenant society (which, if you’ll recall, had its entire freaking capital city genocided by the Flood in Halo 2). Basically nothing new is learned or introduced here, it’s just culminating the events of the last two games. Aside from a couple big deaths, there’s no risks taken. That’s fine, I guess, but it’s disappointing after the thoughtful writing and big revelations brought in by Halo 2.
On a related note, the war just kind of… ends. The prophets are dead, but you’re telling me that there’s no Covenant still choosing to fight? The Brutes sure as hell seemed to want to fight this war, they’re not taking over and continuing the fight? There’s no new power structure forming? Oh, and the game acts like the Flood have been defeated, but that was just one Gravemind… given that we know there are multiple Halo rings still out there, that presumably means that there are several installations which still have Flood on them, right?
I get that Cortana’s out of the picture for most of the game due to the events of Halo 2, but you can really feel her absence (and, when she comes back, it’s a breath of fresh air). Definitely makes you appreciate her character more, but the entire narrative suffers without her.
I also found it pretty disappointing that the last couple levels are basically just rehashing the ending of Combat Evolved, to lesser effect, in my opinion.
Finally, Arbiter’s just kind of “here”. People complained about him in Halo 2, so Bungie folded and he’s no longer playable outside of co-op. He’s still gets a couple story moments, but his character development is stunted and we miss out on a lot of the developments that would be happening on the Covenant side of things (like that the Elites are now working with humanity against the Covenant).
Flashbangs – So, something I neglected to mention about equipment: enemies get to use them as well. This is not that big a deal most of the time, but where it becomes infuriating is that one of the pickups is a flashbang. It’s worthless when you use it, but when Brutes start chucking them around, they’re infuriating. There’s a reason most first person shooters do give NPCs flashbangs, it basically makes the game unplayable when they’re used. Thankfully, these were only used on a handful of occasions during my playthrough, but there was one section early in the game where Brutes were just spamming them at me and it drove me nuts. Oh, and speaking of which…
Brutes – Brutes just are not that fun to fight compared to Elites. At least in Halo 2, you only start fighting Brutes halfway through, but here they’re the main enemy for a good chunk of the game. Since they don’t have shields, this breaks the strategic weapon choices from the previous two games, since plasma is less-necessary. They’re also a lot less intelligent, so the enemy AI is not nearly as interesting as it was previously.
Halo 3 is solid, but I can’t help but feel disappointed with it compared to Halo 2. While it is a fitting conclusion for the trilogy, the world just feels smaller and more dumbed down after the expansion it received in Halo 2. The gunplay is definitely improved, so it has that, but I guess this just shows where my priorities are with games: gameplay is just one factor to the overall package, and story matters quite a lot to me, to the point where Halo 2 is the clear best of the trilogy, even though Halo 3 undeniably plays better overall.
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Welcome back to the Halo love/hate series! In this entry we’ll be going over the series’ second entry, Halo 2! Like I said in the first entry, I had played a bit of Halo 2‘s multiplayer back when we did LAN parties at my church, but other than that, I had very little first-hand experience with the game. I didn’t see past the campaign’s opening cutscene, and I didn’t get that far into the novels to reach any Halo 2 content, so nearly all my knowledge of the game was just general cultural osmosis (Arbiter, the cliffhanger ending, etc). Would it be able to improve the rough edges of the original game? Read on to find out…
Love
Major Gameplay Improvements – It’s hard for me to really describe how much better Halo 2 feels to play compared to Combat Evolved in nearly every facet. Let’s put it this way: when I was playing through Combat Evolved, I’d be able to stomach one level per sitting before I’d want to turn it off. For Halo 2, I blitzed through three levels the first time I sat down to play and the only reason I didn’t play more was because I really needed to sleep. So I went to bed, and then I blitzed through another three levels the next day. Throughout this playthrough, I was gleefully playing two-to-three levels back-to-back whenever I could get the opportunity, it is that much fun. Knuckling down to specifics, major improvements include:
Vehicle handling is similar to Combat Evolved, but so much tighter and more responsive. No more crashing into everything because you can’t control your damn vehicle (plus, it also confirm that this was not an engine issue, it was very much a Combat Evolved issue, because vehicles are a blast here).
Explosives are far less oppressive now. You’ll still die to the occasional rocket launcher or plasma grenade, but the combat actually feels fair now.
Weapons held by allies can now be taken, meaning that you can customize the support that they provide, and you can get yourself a better weapon if needed (you are, after all, the best warrior in the room, so why are you stuck with the needler!?).
You can also hijack enemy vehicles now, which makes for some epic moments on its own, but it also means that you aren’t necessarily left flailing around if you have a weak weapon and some Elite is charging at you with a Ghost or a Banshee.
I also like the changes made to health. In Combat Evolved, you had a regenerating shield and a health bar which would be depleted when the shields went down. In theory, this sounds like a good system, but in practice, it means that you have very little margin for error. Shields down? You need to hide IMMEDIATELY or you’ll die in one hit next time your shield goes down, and who knows how long it will be before you find a med pack to restore those lost health points. Halo 2 simplifies this to just be a regenerating shield and then a set amount of damage you can take before your health and shields fully regenerate. It makes taking damage more forgiving and makes you feel like more of a badass, since you can choose to take that risk to take some damage if it means that you get to kill the last couple enemies in the process without punishing you for it.
Dual-wielding! – Easily the coolest new feature in Halo 2 is the ability to dual wield any one-handed weapon. I was grinning ear-to-ear like an idiot as I blasted away with dual SMGs in the opening levels. Granted, you can’t throw a grenade or melee when you’re dual wielding, but it’s very much worth it and, with this franchise’s strategic weapon-based combat system, it opens up so many options. You can choose to double-up your damage potential with a second copy of a particular weapon, or you can choose to shore up one weapon’s weakness with another (eg, SMG in one hand for Grunts, plasma rifle in the other for Elites). This is such an inspired feature and just another aspect of what makes combat in Halo 2 so goddamn fun.
New Weapons – Halo 2 introduces several new weapons to the franchise. My favourite is, without a question, the energy sword, which kills almost everything with one melee strike and which closes the distance with an enemy if you swing while close to them. I also really love the beam rifle, which is kind of like a plasma sniper rifle. The battle rifle is also excellent, leaving Combat Evolved‘s assault rifle in the dust where it belongs and I also rather enjoy tearing through Grunts with the SMG.
Level Design – One major reason why Halo 2 is so much more playable than Combat Evolved today is that they completely fixed my issues with the first game’s level designs. The way that levels are designed is far better at directing you to where you need to go next, to the point where I never got lost.
Graphical Leap – Graphics only matter so much, especially when comparing two twenty-year-old games from the same console generation, but it is notable just how much better the graphics of Halo 2 are compared to the first game (I played both games with original graphics, so their anniversary updates did not factor into this assessment). The character models are so much better and environments are all much more detailed than before, making the opening warzones and areas like the Covenant holy city truly awe-inspiring in open vistas.
“Blow Me Away” – As a big fan of Breaking Benjamin, the hype was off the charts when I was playing through Gravemind and this track started playing during one of the toughest battles in the game. You’d think that a post-grunge rock track might feel out of place, but no, it’s easily one of the highlights of the campaign.
Mixed
The Arbiter – One of the most interesting additions in Halo 2 is that you have a second playable hero: the Arbiter, the Elite who was in charge of the Halo ring that we blew up in the first game. A lot of the most interesting world-building and narrative beats comes from his perspective, as we get first-hand insight into the Covenant hierarchy and society. He also plays somewhat differently to Master Chief, getting access to an active camouflage system which encourages more stealth gameplay. That said, his levels suffer somewhat due to us not really having much investment in the fate of the Elites initially, as our concerns are on the fate of humanity. This improves over time, but it takes a while to really appreciate this side of the story. Arbiter’s gameplay can also be less enjoyable than Master Chief’s… I wasn’t able to find anything to confirm it, but I swear that Arbiter has less health and/or shields than Master Chief, meaning that you’re going to die way more and have to play much more carefully when playing as him. This isn’t necessarily a bad thing, but it’s not communicated well and, since you swap between the two characters throughout the campaign, the difference in health is going to throw you off every time you swap back and have to remember to play more conservatively again. It’s just kind of a bummer in a game that otherwise makes you feel like a total badass.
The Story – This is a true “Mixed” section for me, as the narrative of Halo 2 is extremely polarizing. It’s simultaneously one of my favourite and least favourite aspects of the game.
On the plus side, the presentation is way better. The opening sequence of Master Chief’s award ceremony, contrasted with Arbiter’s shaming, is downright cinematic and demonstrates that Halo has some of the best narrative presentation in gaming. In accordance, the narrative scope has expanded to the point where it is downright epic. We’ve got the fate of Earth hanging in the balance as the Covenant launch their final offensive on humanity, we’ve got Master Chief trying to stop a second Halo from firing, we’ve got Arbiter being sent to quash heresy and the getting caught up in a full-on Covenant civil war with three different factions involved. It’s extremely impressive stuff, especially for a goddamn first person shooter from the early 2000s.
That said, the way that this story is told is extremely confusing. The story is far more complicated, but the way that it is communicated to the player is often unclear, making it difficult to follow at times. For example, the first Arbiter missions take place on a second Halo installation, but the game takes a while to actually make this clear, and never really confirms if this is supposed to be the same installation that Master Chief and his allies are fighting on at the same time. Similarly, the Flood Gravemind just kind of shows up with zero foreshadowing or explanation. This is arguably the most dangerous being in the galaxy and we don’t really get any indication of what it is until very late in the game (hell, you’d need to use context clues to even clue in that this thing is a “Gravemind”). The way the game switches between Master Chief and Arbiters’ campaigns also doesn’t really help, as you’ll probably forget some of the details of what was happening in each campaign by the time you switch back to the other character.
Oh, and I’d be remiss to not mention the cliffhanger ending. I didn’t mind it, especially since I’m playing this game years after we’ve already had follow-up to it, but I can see how the story just suddenly ending with no resolution would be a problem for some people.
Hate
Energy Sword Lunge – As much as I love the energy sword, the way that its lunge has been implemented is a goddamn liability. Getting close to an enemy and then swinging will launch you forward in a lunge attack, even if you’re in mid-air. It’s really helpful and helps make the energy sword an absolute beast, but my God, you will launch yourself off the side of the map several times when you first get the energy sword until you come to grips with how it works. I swear, during the first couple Arbiter levels, I died more to the energy sword throwing me off the map than I did to Flood and heretics, combined. I did eventually get used to it around the time when the game stops having so many lethal drops around every combat arena, but it was infuriating for a while.
Weapon Balancing – Bungie were clearly aware of how overpowered certain weapons were in Combat Evolved, because the nerf bat has come for them. The shotgun is, sadly, the most nerfed. It’ll kill a Flood in one shot still, but it struggles to down Covenant outside of point blank range (and even here, you’ll likely need a couple shots to do the job) and its damage drop-off is pitiful. The magnum has also been made basically useless, and the plasma rifle’s damage is lower. Beyond general nerfs, there’s a pretty big gulf between the good and bad weapons in Halo 2. The brute plasma rifle, for example, is a weapon you never pick up unless you have no other option – it’s literally just the regular plasma rifle, but it overheats twice as fast. How exciting!
Halo 2 is a triumph. The original game was already acclaimed and revolutionary for its time, but Halo 2 absolutely blows it out of the water in nearly every regard. Everything has been tuned to make you feel like a total badass while playing and the campaign is simply enthralling. If Combat Evolved set the bar for quality, Halo 2 cemented this franchise’s place in gaming history. I’m so glad that I finally got the chance to play this game in full and I hope that I get the chance to relive one of those LAN parties someday soon to really enjoy that multiplayer carnage too.
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Surprise! It’s time for a new love/hate series! As you can probably tell, we’re going to be diving into the Halo franchise, going over all the mainline entries and their campaigns. Multiplayer is a pretty major aspect of Halo, obviously, but I’m about 23 years too late to properly dive into these games’ multiplayer modes, so we’ll just stick with the campaigns for this analysis.
As for my history with Halo, I got invited to a LAN party at my church a couple times where we hooked up four Xboxes and played Halo and Halo 2‘s multiplayer. It was an absolute blast and, for many years thereafter, Halo was the gold-standard multiplayer game in my mind, unsurpassed until 2007’s Call of Duty 4: Modern Warfare. I purchased an Xbox 360 with Halo Anniversary several years later and tried to play through the game’s campaign, but fell off about halfway through before selling the system. Recently though, Steam had a huge sale on for the Master Chief Collection, so I picked it up and finally decided to knuckle down and play through this series. How do these games hold up today? Read on to find out…
Love
The AI – No, I’m not referring to Cortana here (although she is an excellent character). No, I’m referring to what was probably the most defining aspect of Halo for me: the incredible amount of personality that Bungie have baked into all of their NPCs. Grunts scream and run from battle when you kill their superiors. When you kill an enemy, they will fire their gun a few more times in a death spasm. Your allies will rage and unload magazines into dead enemies in revenge. These are just some of the more obvious examples, but there is just so much personality baked into the NPCs that it makes them feel like more than just bullet sponges. It’s even more impressive considering that few shooter games today even bother with these kinds of touches to make their world feel real.
Enemy Designs – Combat is so much fun in Halo because you can feel how well-designed the enemies are in these games. Each enemy type requires different approaches to defeat them: for example, Elites have powerful weapons and shield generators, requiring plasma weaponry to kill effectively before they obliterate your own shields, while Jackals have an arm-mounted shield which needs to be overloaded with plasma or bypassed with precision weaponry, grenades, or good ol’ fashioned melee. In addition, each enemy type has a very distinct silhouette, making it easy to tell who is who in the heat of combat. As a result of this strong design foundation, Bungie are able to mix and match enemies and environments to make for endless potential for fun encounters.
Large-scale Warfare – While Halo is primarily a corridor shooter, like many of its contemporaries, it does open up during a few levels (most notably in the second level) and allow you to engage in large-scale open warfare. These areas are always the game’s biggest highlights, allowing you to pilot vehicles, including the Scorpion tank and Banshee, or you can just hoof it on foot and use the terrain to your advantage. There are also multiple moments where you can choose to just sit back and watch the Covenant fight your allies or the Flood, which helps sell the idea of this huge war that you are just a part of. It’s wild to see this kind of ambitious design in an Xbox launch game!
The Lore – The actual plot of Halo is pretty basic: you crash land on Halo, rescue your comrades, and then try to figure out what the Covenant are doing here. What really makes it stand out to me though is how authentic and real it feels. You can clearly tell that the people who wrote it are military history nerds and they ensure that the UNSC characters speak and act like real soldiers. Add in the intriguing zealotry of the Covenant and the mysteries of the Halo installation and this is a world that feels positively lived-in, even in this first entry.
The Flood – No one who played Halo for the first time expected it to turn into a full-on horror game about halfway through, but man is it effective. It’s a cool twist which comes just in time to shake-up the gameplay and introduce several new enemy types to deal with, which function differently than any other enemy you’ve encountered up to this point. Plus, y’know, the Flood are an existential threat which really ramps up the narrative as soon as they’re introduced.
The Shotgun – Oh. My. GOD! In the pantheon of video game shotguns, Halo‘s is easily one of the most satisfying. This thing is a fucking beast, shredding Flood and Covenant alike in a single blast. Most weapons in this game feel kind of weak, requiring a lot of shots to actually kill anything, but it is so refreshing when the shotgun arrives and bucks this trend. You don’t get access to it until about halfway through the game, but as soon as it was introduced, the entire back half of the game for me was ride-or-die with the shotgun.
Weapon Variety – One of the most impressive aspects of playing Halo today is seeing just how unique the various weapons are. This was kind of par for the course back in 2001, but since video weapons became codified as “assault rifle/pistol/shotgun/sniper rifle/DMR/SMG/machine gun”, it’s refreshing to see weapons as distinct and iconic as the needler and plasma pistol. Even the assault rifle and plasma rifle don’t overlap – the assault rifle is purely a low damage, high rate of fire weapon, whereas the plasma rifle specializes at knocking down energy shields and will overheat if fired for too long. There’s simply no overlap for any of the weapons here and, given what I said about enemy design previously, they all have some strategic use depending on the situation you find yourself in.
Hate
Level Design – This is my biggest complaint about Halo by far, and it’s the reason I fell off the game the first time I tried to play. It took me months to slog my way through this game and that largely came down to how dull the levels can get at times. This is mainly due to the time-period in which Halo was developed, as you can see the DNA of early corridor shooters like Doom or Star Wars: Dark Forces with these maze-like environments. It’s especially bad because the levels in Halo are, ultimately, quite linear, but I was still managing to get lost because of all the reused assets and non-sensical level layouts which make it hard to tell where you’re going and where you’ve been. Making matters worse, Halo loves to just throw wave after wave of enemies at you. I remember reading the second Halo book, The Flood, and realizing it was basically a full-on walkthrough of the game when it would describe how Master Chief kills all the enemies in a room, then goes to the next room and does it again for another wave. For how dull that was to read, it was a pretty accurate description of how these levels often play out and, while the enemy designs keep things fun, it does start to get a bit much towards the end.
Vehicle Controls – As much as I love that Halo lets you shake-up the gameplay by driving vehicles, the actual controls are fucking dogshit, specifically for the Warthog. They are so slippery and unwieldy, causing you to crash into everything if you end up in a situation where you need to drive with any sort of precision. This is especially a problem because the final level requires you to race a Warthog through an obstacle course while a timer counts down. Suffice to say, I failed the first time I tried this and that was almost entirely due to the poor vehicle controls screwing me over.
Explosive Spam – Holy shit, the sheer damage and blast radius of explosives in this game is nuts. A single explosion is often enough to kill you instantly and can come out of nowhere, with even basic Grunts frequently hucking plasma grenades at you. You are going to die to explosions all the time, especially in the latter levels when enemies are unloading barrages of grenades, fuel rod cannons, and full-on rocket launchers at you.
The Assault Rifle Suuuuuuucks – So I did say that every weapon in Halo is useful in certain situations, but the assault rifle’s the closest we come to a weapon just being worthless. Unlike most video game assault rifles, Halo‘s is only good at extreme close range due to some insane bullet deviation. Even Grunts take most of a magazine at close range to kill, which is insane. The only situation where the assault rifle shines is in killing pod infectors… but that’s not that impressive, because literally stepping on them will kill pod infectors, and they do such miniscule damage that it’s barely worth wasting a bullet on them.
Halo: Combat Evolved is rough. I can see how it revolutionized the shooter genre and it still has some brilliant aspects that hold up today, but actually playing the game can be exhausting at times. Still, for all its rough edges, I’m glad that I finally got to experience this game for myself and live out my teenage dreams for real.
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So, since I went through my top 100 games of all-time, I thought it might be interesting to flip the script and see what my least-favourite games ever were! Important note: I’m only covering twenty-five games on this list. Put simply, it’s a lot harder to get through bad video games as opposed to other forms of media: you either know the sorts of games you’re into, or you are so put-off by a game that you drop it immediately before you can make any impressions. As a result, I don’t have a lot of games played that are truly awful (even the first few entries on the list aren’t all that bad). And, again, these are all very subjective opinions and are based on the games I personally have played. Got it? Let’s get into it.
25. The Simpsons: Road Rage (2001, PS2)
The Simpsons do not have a good track record with video games. There are a few gems, but Road Rage is not one of them. It’s literally Crazy Taxi, but with a Simpsons skin over it. As you might expect, the entire premise is extremely thin: pickup passengers, drive them to their destination as fast as possible, get money based on how quickly you get there. The one thing that makes Road Rage sort of worth it is the quippy writing, which should give you a few laughs. However, there’s not a whole lot to do here and you’re going to hear the same lines over and over again, so it’s an experience that is going to grow dull pretty fast.
24. The Incredibles (2004, PS2)
If you grew up in the PS1 and PS2 era, you probably went through a “licensed games” phase where you were too young to realize that these games sucked. I used to play through anything back then, having not developed any standards of what proper game design was like yet. The Incredibles is the first game where I can remember myself getting close to the end, getting killed over and over by the bullshit controls and balancing, and just deciding “I’m done, this game isn’t worth it.” It’s a very simple, but poorly balanced beat ’em up. Not a game I truly hate, but one that I can’t say I ever actually enjoyed myself playing.
23. Dead Space 3 (2013, PS3)
Okay, maybe I’m being a bit harsh here, but I really do hate Dead Space 3. It killed off one of my favourite franchises, and shit all over its story and gameplay on the way out. If you think I’m just being harsh, then feel free to ignore this entry and put Turning Point: Fall of Liberty on the list… I really couldn’t justify it myself though. Turning Point left me feeling indifferent. Dead Space 3 fills me with disappointment and anger which invalidate any of its positives. As I said in my Love/Hate analysis of the game, it’s a fundamentally compromised experience, one that is worse than its predecessors in every way, and not even good compared to Uncharted and Gears of War, which it’s trying so hard to be like. Perhaps it’s for the best that Dead Space died here, I’d hate to see what would have happened if they paraded its corpse out for a fourth entry.
Oh, by the way: the remake pisses me off too. EA shuts down Visceral and then gets a new studio involved and parades Visceral’s work out when there’s greater profit potential? Fuck you, EA.
22. Tom Clancy’s Ghost Recon Advanced Warfighter (2006, PS2)
This one makes it onto the list for a very specific reason. Back when Ghost Recon Advanced Warfighter came out, the gaming magazines were singing its praises, calling it the best shooter on the market and a must-play. As a fan of the genre, with that kind of endorsement, I knew I had to check it out. I bought a copy for my PS2, fired it up… and I was bored shitless. The gunplay was so mediocre, the squad controls were a lot less in-depth than I had been led to believe, and there was no cover system… What were the game journalists thinking…? It’s like they were playing a completely different game.
Well… turns out that they were. At the time of the Xbox 360 and PS3’s release, Ubisoft had a fucking scummy policy where they would release completely different versions of games on last gen consoles. The differences between the current gen versions (which got all the coverage and accolades) and the last-gen versions were barely communicated, so I (and many others) got duped with low-effort junk after being told it was gold. The fact that the next-gen version was so good makes it sting even more, I am so annoyed that I got hyped up for this experience and then bought the “wrong” game.
21. Friday the 13th: The Game (2017, PS4)
I actually Kickstarted this game back in the day and, while I didn’t have particularly high hopes, I figured it would at least be interesting. Little did I know that Friday the 13th: The Game would play out pretty similarly to the movies themselves: pretty bad in its own right, but made all the worse due to legal battles over the rights. Friday the 13th was one of the earliest asymmetrical multiplayer horror games: one player plays as Jason against a group of survivors, who need to complete objectives and survive in order to win. While the core of the experience was kind of fun (whether that be sneaking around to find a way to escape the campground, or hacking up teens with a machete), the game was buggy beyond belief. It felt awful to play: the controls were janky, the graphics and animations were very poor (it would have looked dated even on last gen consoles), and the netcode was pretty bad. It was unique enough an experience that I did forgive a lot of this for a while, but I was never under any illusions about how badly made the game was.
That was all bad enough on its own, but what really sank Friday the 13th was that the franchise became embroiled in a rights legal battle, halting any further development of the game for years. There were more game modes, characters, and cosmetics planned, but they never got the chance to implement them, and the game basically withered away on the vine. As we have seen with Dead By Daylight, there was definitely a market for this kind of game, but it’s sad to see that Friday the 13th didn’t really get a fair shake to carve out a proper place for itself.
20. Resident Evil 6 (2017, PS4)
Resident Evil 6 is an exhausting game. There’s just too much stuffed into this bloated mess of a game. In trying to appeal to everyone, it leaves nobody satisfied. There’s so much here that much of it isn’t given enough attention, leaving half-baked mechanics and level designs. Of the four campaigns, the only one that I kind of liked was Jake & Sherry’s. However, I’ve heard just as many players say that Chris or Leon’s campaign were the only one they liked, so you can see how polarizing this campaign structure is. The four campaign structure also screws over the plot (which is easily the dumbest and most over-the-top in franchise history). Then spread this out over a twenty hour playthrough, and you can see why Resident Evil 6 just generates exhaustion even thinking about it.
19. Twisted Metal 4 (2017, PS4)
I loved Twisted Metal as a kid. We had a PS1 demo disc with Twisted Metal 2 on it and my brothers and I would play split screen matches against each other in that demo, it was awesome. Unfortunately, after Twisted Metal 2, the original developers moved onto other projects and the franchise was handed over to 989 Studios. Twisted Metal 3 and 4 are both pretty notorious for how badly they screwed up the franchise’s tone. For my part, I think 4 is worse (hence why it made the list): Twisted Metal 3 feels like the previous games, just… significantly dumber. Twisted Metal 4, on the other hand, turns the franchise into a cartoonish joke. Sweet Tooth pulls off a coup and takes control of the contest, which could be a really cool concept. Unfortunately, they’ve also interpreted Sweet Tooth by putting more emphasis on the clown part, so all of his scenes have him juggling in a circus while surrounded by goofy clowns… it’s something, alright. That’s not even taking into account the actual game itself. The cars look like toys and control like ass. The only cool things are that you can create a custom car (with, like, a grand total of nine options to pick from) and Calypso enters the contest with a goddamn nuclear rocket truck (which is dumb because it makes him by far the coolest driver in the game, why the hell would you play anyone else?).
18. Star Wars: Episode I – Jedi Power Battles (2000, PS1)
You really had to be there for Star Wars: Episode I. Lucasfilm were milking the shit out of it, licensing Star Wars all over the place. The film had 5 video game tie-ins just in that first year (which isn’t even counting all the handheld ports those games got). One of these was Jedi Power Battles. My brothers and I enjoyed it as kids, largely because it was the most “violent” game we were allowed to play at the time. I enjoyed the hack ‘n slash combat for the time, and the blaster deflection parry was really cool, but even back then we had one major complaint… See, Jedi Power Battles isn’t just a hack ‘n slash like it is advertised to be. Oh no, the game is also secretly a 3D platformer… and the absolute worst 3D platformer ever made, I may add. You spend an inordinate amount of time in this game jumping over bottomless pits to land on platforms. With this game’s slippery controls and isometric camera, it’s legitimately difficult to make some of these jumps. Making matters worse are that the game has some extremely precise jumps, to the point where there are jumps in the first goddamn level that you will not make unless you start jump after you’re already off of the platform. It’s fucking ridiculous, but it reaches a zenith during the Coruscant level. You spend 99% of this level jumping on platforms… oh, and it also happens to be the longest level of the entire game. You have a limited number of lives in this game: on more than one occasion, we had to restart the entire level, because we kept falling into bottomless pits over and over again.
By the way, this wasn’t just me being a scrub as a kid. I recently fired up Jedi Power Battles on my Retroid Pocket 4 Pro and, as soon as I got to the platforming sections, I just kept dying. It was flabbergasting how much they were asking of you and how badly it controlled. It’s too bad, the game is pretty fun when it’s actually being a hack ‘n slash, but the platforming is such an inordinate problem that it sinks the entire experience.
17. Cabela’s Big Game Hunter 6 (2002, PC)
Cabela’s Big Game Hunter 6 is clearly a budget title. That is fine. You get a relatively large open world in which to go hunt animals (large enough that there’s an ATV you can drive), and there’s a pretty impressive number of real-life gear in the game that you can use. The problem is that the game is clearly trying to be a hunting simulation, and expects you to treat it like one: slowly, quietly sneaking up on your target to land the perfect shot.
Unfortunately, the illusion shatters as soon as you get bored. “Fuck these deer, I’ve got things to do,” you say and then you just start sprinting headlong at them. The game’s animal AI is too dumb to react appropriately to a screaming monkey with a gun blasting at them, and so they stand there dumbfounded as you close the distance with them in the blink of an eye. Then, when they do run, you’re supposed to track the blood and figure out where they went. Instead, you just sprint after them, continually blasting the poor deer in the ass with your Cabela’s-branded gun. I legitimately wish that they had put some mechanics in to prevent this from happening. A hunting sim could be pretty interesting as a unique, niche experience. However, if you have to force yourself not to play like a moron to actually get that unique experience, it kind of ruins the whole thing.
16. BloodRayne (2002, PS2)
I had always been kind of interested in BloodRayne. I was nothing if not an edgelord when this game came out and I thought that her character design was cool. Given my love for shit movies, I had also seen two of the Uwe Boll adaptations (honestly… BloodRayne 2 ain’t bad). I recently decided to try out the games to see how good they were…
This game left me infuriated. The graphics are terrible (at least, they are in the PS2 version that I played). The art design makes the whole game unpleasant to look at. The voice acting is bad. The level design sucks more than our half-vampire heroine does, especially when the game turns into a finnicky platformer. The melee combat is just the worst though. In order to make a melee attack, you have to press L1 to attack. This would be awkward enough, but there’s absolutely no tracking or enemy lock-on and the attack animations lack impact, so you might as well by attacking with a wet noodle for all the damage it’s doing to the enemy. Add this all up, and melee combat feels like you’re flailing around in thin air all over the place. This gets so much worse later in the game when enemies that are immune to your ranged weapons are everywhere, forcing you to engage with this shitty melee system.
It’s wild how far a great character design can get you. This game was shit, but it still got multiple sequels, films, and a Playboy spread, all because the main character looks fucking cool. Actually playing the game though? I forced myself to get through, but the bright spots were few and far between.
15. Shrek 2 (2004, PS2)
My youngest brother was really into Shrek as a kid. Naturally, he was given the Shrek 2 game as a gift, and it was up to my brothers and I to join him for some co-op, isometric beat ’em up… fun? Yeah… surprise, surprise, Shrek 2‘s one of those shitty licensed video games. The beat ’em up gameplay is extremely simple and tired. For a game with a fixed, third person camera, you’d think that they’d be able to keep all the players and enemies on-screen, but somehow this game struggles to even do that consistently. There’s also just too much slow, dull platforming, often tied to specific characters’ abilities (meaning that everyone else just sits around and waits until the other player does their chores).
14. Resident Evil Survivor (2000, PS1)
I hated Resident Evil Survivor when I first played it. Having played much worse Resident Evil games since (spoiler alert), my opinion has softened on it somewhat, mainly due to its ambitious branching pathways and its hilarious voice acting. However, that’s not to say that I’ve forgiven it. Survivor is still a shockingly bad game: terrible graphics, terrible gunplay, idiotic puzzles, and the lack of saves is fundamentally moronic, not to mention that it’s only like two hours long. Survivor is not this underrated, misunderstood hidden gem. It sucks. It has some cool ideas, but it fails to do them any justice. It just sucks.
13. Super Noah’s Ark 3D (1994, SNES)
Yes, this is a real game. It’s literally running on the Doom engine. It also was unlicensed, meaning that video game retailers were not allowed to stock it. It’s also just laughable on its face: you’re playing as Noah, firing sleep-inducing food at animals (mostly goats; suspiciously, there are way more than two goats on this boat). You then do the “classic” Doom thing of hunting around a maze for keys… it sucks. Like, the joke was funny, but actually having to play it for any length of time is just not worth it.
I recently covered my problems with Dead or Alive Paradise here on IC2S, but put simply: it’s the most inessential Dead or Alive game of all-time. The DOA Xtreme gameplay is severely lacking in things to do. The hardware is ill-suited to provide the sex appeal this kind of game is supposed to deliver. Worst of all though, the gameplay changes have turned this already content-thin game into a grindy slog that is just not worth the effort it asks of you. If you have to play a DOA Xtreme game, then make it literally any other one.
11. I Am Alive (2012, PS3)
This game was one of my biggest video game disappointments. I remember back when I Am Alive was first being teased, it sounded really unique: a stealth-survival game where you play a normal guy trying to make his way through a destroyed city after some sort of disaster. Having the environment be the primary antagonist rather than combat encounters was really intriguing and I waited eagerly for more info on it… Well, I was waiting a long time, because it took about four years for this game to re-emerge with a release date. I heard from the reviews that it wasn’t very good, but I had waited so long for this game that I had to try it out anyway.
Just by playing I Am Alive, you can feel the developmental struggles it faced. Everything looks and feels janky. The game was also very buggy, straight-up crashing on me on multiple occasions on PS3. It got to the point where I just had to admit it: the reviewers were right, after all the struggles that went on during development, the devs weren’t able to make the game they had wanted to. It’s too bad, I still think that the concept of I Am Alive is great, which makes what we got sting all the more.
10. Resident Evil: Operation Raccoon City (2012, PS3)
If playing your new Resident Evil game makes me start saying nice things about Resident Evil 6, then you know that you fucked up. Slant Six Games made multiple SOCOM games, so why is the shooting in this game so bad? Guns either do piddly damage, or they do a normal amount of damage, but run out of ammo extremely fast. Gunplay is also frustratingly inaccurate, and predictably dull. Most frustratingly, enemies are absolute bullet sponges, taking a ridiculous amount of ammo to take down. It takes me three whole clips from the strongest assault rifle to down one hunter, does that not seem excessive? Don’t even get me started on Tyrants or Nemesis, who ran through max ammo at least three times for my weapon before he went down. It is just so badly designed that it is not fun to play in the slightest.
9. The Lord of the Rings: Conquest (2009, PS3)
Oh man, every time I think about my biggest gaming disappointments, I go back to this game. As you saw on my top one hundred games of all-time list, I loved the original Star Wars: Battlefront games. At the time, the only thing I loved more than Star Wars was The Lord of the Rings, so naturally I thought that The Lord of the Rings: Battlefront would be an awesome idea. Lo and behold, a couple years later they announced that this idea was actually going to happen, and that the original developers of Battlefront, Pandemic Studios, were going to be the ones to make it. This was incredible news, as Pandemic were renowned for making good games, so there was pretty much no way this could get screwed up. At this point in time, I was usually reading reviews before buying new games, but this game was such a slam-dunk that I ignored the nagging doubts and paid sixty dollars up-front for it.
So… turns out that I overlooked a key difference between Star Wars and The Lord of the Rings in video games: Star Wars: Battlefront is pretty easy to pull off as a large-scale shooter. Conquest, on the other hand, is mostly melee-based, with archers and mages there to provide some ranged attacks, while being annoying as fuck. Melee combat was not implemented well, making the entire core gameplay a slog. The game was also far buggier and unpolished than Battlefront, making it feel very last-gen. Not even the alternate history campaign, where you play as Sauron clubbing hobbits to death, was interesting enough to warrant a look. This game absolutely broke my faith in the games industry, and I am extremely judicious about buying games after doing some research about them now.
8. Godzilla (1990, GB)
If you buy a Godzilla video game, you have some pretty basic expectations for what that is going to entail: either something like Rampage where you smash a city, or a fighting game where you beat the shit out of other kaiju, like Primal Rage. What you do not expect is a cartoony puzzle game where you climb vines, push a bunch of rocks around a maze so that you can smash all of them against another solid object, while occasionally swatting away other cartoony kaiju that wander too close. Oh, and if you take too long, King Ghidorah shows up and will instantly kill you. This is a baffling game on so many levels, I am not sure what the hell they were thinking. Surely the Godzilla license was just slapped onto some random video game to make it sell more? This was such a weird game, it was one of the first games I had for our Gameboy (which my brothers and I traded some other kid at school for), and I distinctly remember playing it and getting to a point where I had to question what I was doing with my life.
7. Bible Adventures (1991, NES)
Oh look, another Wisdom Tree game! Growing up in an evangelical household which was pretty strict about the sorts of games were were allowed to play, I actually had a copy of this game back in the day. The game plays a lot like Super Mario Bros. 2, acting as a 2D side-scroller where you pickup objects and avoid enemies. The game consists of three parts, the first of which is Noah’s Ark, which tasks you with grabbing animals and bringing them back to the ark. This game is full of frustration due to the shit controls and how easy it is to get damaged, causing all the animals to get scattered and run off, forcing you to chase them back down. It’s mired in frustration, and that’s the best game in the collection. Baby Moses tasks you with babysitting the titular Moses, with controls which are just as bad and gameplay just as frustrating as in Noah’s Ark. While you will accidentally cause Moses to get killed over and over, you can choose to chuck him in the river if you want to, inadvertently making it one of the few games where you can straight-up murder a baby (Grant Theft Auto would never). Then there’s David and Goliath, which just fucking sucks.
6. Revolution X (1994, Arcade)
Revolution X has to be the cringiest game ever made. It’s an arcade light gun shooter, and in that regard it’s pretty bog-standard. What makes the game so bad though is that it takes place in a world where the New World Order has taken over and hate youth culture, so they ban music, movies, and games. The only way to fight back is through the power or rock ‘n roll! And, to make things even more cynical, it features the likenesses and music of Aerosmith. Yeah, this game is basically wearing the corpse of revolution in order to advertise for a rock band which sold-out decades earlier. While the game itself plays… fine, I guess, the entire premise is so lame that it ruins anything it might have been going for. The sort of game you only play for a joke or if there’s literally nothing else available.
5. Dead or Alive Xtreme: Venus Vacation (2017, PC)
Writing the Love/Hate entry for this game literally made me angry. This game represents everything that I hate about the modern gaming industry (games designed to be addictive and predatory rather than fun), but it is so much worse due to how this game has supplanted the mainline Dead or Alive fighting games in Tecmo-Koei’s eyes. Worst of all? The predatory shit works. I hate the game and I have not picked it up since I finished the article, but goddamn if I do not see it in my Steam library and get that compulsion: “Oh, I am missing out on using some of my limited energy points for the day, it will only take a few minutes to use them all…” And, for what? To unlock some more worthless swimsuits in hopes of getting a low drop-rate swimsuit that doesn’t even look good? Nah, fuck this shitty fucking game.
4. The Simpsons Wrestling (2001, PS1)
The Simpsons Wrestling was a game I rented for a laugh back in the day. I was aware of its reputation, but I was a dumb kid and didn’t think it would be that bad. Hoo boy, was I wrong. For one thing, the game is wildly unbalanced, making the main Simpsons family get outshone in their own game by fucking Bumblebee Man of all characters. On top of that, Ned Flanders is apparently considered to be one of the most broken fighting game characters of all-time (although at least in his case I can understand it, stupid, sexy Flanders…). The controls feel like ass; you’re flailing around for the entire fight. The graphics and camera are awful, even by PS1 standards (the fact that this released late in the PS1 lifecycle makes this even more egregious, but it would have no better in 1995). The only nice thing I can say is that at least I didn’t buy the damn game myself, which is more than I can say for most of the games on this list.
3. NPPL Championship Paintball 2009 (2009, PS3)
Around the time I played this game, my brothers and I were really into paintball. We would take part in large-scale mil-sim events with hundreds of people on each side blasting away at each other. One of my brothers was also on a speedball team, so I was also fairly familiar with the more competitive side of the sport. NPPL Championship Paintball 2009 is based around the competitive speedball side of things, but it ultimately just seems kind of pointless. Paintball is cool, because it lets you simulate video game-like combat scenarios in real life (without having to worry about serious injury, death, or police response). However, when you turn this back around and translate paintball into a video game, it just doesn’t make a lot of sense, especially when the translation is incredibly janky, cheap, and broken. Much like Cabela’s Big Game Hunter 6, the enemy AI is only programmed to deal with you playing the “right” way: if you just charge straight down the middle and shoot everyone you come across, you’ll end every match consistently in less than ten seconds, breaking the entire experience. I promise you, if you tried this in real-life paintball, you would be downed immediately, but here the enemy AI is so bad that they do not know how to deal with it. At that point, just play a competitive shooter, you’ll have a way better time.
Resident Evil Survivor 2 left me shocked at how bad it was. I wasn’t expecting much after slogging through its predecessor, but Survivor 2 makes that game look like a masterpiece. It’s the cheapest, laziest game imaginable, made up of 99.9% reused assets. I mentioned this in my Love/Hate entry, but I really need to reiterate that this is a shooter whose maps and assets are literally ripped right from a survival-horror game. They’re completely different genres, so these maps make no sense for a run ‘n gun experience, and the graphics look really bad, because they weren’t supposed to be seen up close. Hell, even the “new” stuff in this game is just assets ripped from the Dreamcast ports of Resident Evil 2 and 3 (and you can tell, because they look worse than the CODE: Veronica assets). Add in that somehow this game is even shorter than its predecessor, and this isn’t even a dumpster fire: it’s just a travesty.
1. Umbrella Corps (2015, PS4)
Umbrella Corps is the worst game I’ve ever played, in part because it should know better. This game came out at the end of Capcom’s half-decade of bed-shitting, with one final shart as they tried, once again, to make Resident Evil into Call of Duty. The game has aspirations of being a highly-competitive, esports shooter, but it just plays like ass. The UI is cluttered to hell, with all sorts of messages and redundant notifications telling you that you can move into cover or do a melee attack, which make it hard to actually see what’s happening on-screen. Of course, this part of the game was dead within a week or two of release, and at this point, Umbrella Corps as it has existed for most of its awful life is an over-glorified series of spec ops missions chores. These missions are tedious, dull, and infuriating – easy to cheese, but if you do, they take forever to complete, so you risk losing just to not have to play this game anymore. I bought this game on sale for six dollars, and I still feel like I got ripped off. I don’t understand how a major publisher releases a game like Umbrella Corps in 2015. We had long figured out shooters by this point, which just makes it so much more egregious than anything else on this list.
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25. Star Wars: Knights of the Old Republic (2003, PC)
Knights of the Old Republic has some of the best writing in all of Star Wars. Back when Disney bought Star Wars and everyone was still excited about the possibilities of new movies, I had a pretty simple request: adapt Knights of the Old Republic to film. You could adapt this game’s script with little changes required and it would be a hit (assuming they didn’t screw up in the execution). The twists would be able to land too, because most mainstream Star Wars fans haven’t played it, so it would still have impact. Oh, and most importantly, adapting KOTOR would not ruin the ending of Return of the Jedi and piss off the fanbase.
KOTOR is just the ultimate union of Star Wars fantasy and Bioware RPG gameplay. Customizing your character and slowly developing their Force powers and lightsaber over the course of the game is awesome. The real-time with pause combat is simple, but flashy in-motion. Seeing what the Star Wars universe was like long before the original trilogy is fascinating. The way that your affinity towards the Dark and Light sides of the Force affects your character, your companions, and the way the story plays out. If you love Star Wars, then you owe it to yourself to give KOTOR a try.
24. Sly Cooper and the Thievius Raccoonus (2002, PS2)
Another one of those games that was bought for me as a gift and that I wasn’t too interested in until I started playing, Sly Cooper is a fantastic blend of 3D platforming and stealth gameplay. In order to emphasize stealth, Sly (and most enemies you face) will die in one hit. This might sound rough, but the game is balanced around it and it feels very fair – if you are being sneaky, then you should have the upper-hand in every encounter. In fact, I actually prefer this system over Sly‘s sequels, which give everyone health bars… presumably because it is more “expected”? I guess it makes combat have a bit more depth? Whatever the case, combat isn’t really the focus of these games and I much prefer the snappier system in place here.
Like many 3D platformers of the day, Sly Cooper features collect-a-thon elements, but they aren’t just here to give you something arbitrary to do. Levels are littered with coins to steal, which will net you lucky charms (which allow you to take up to two hits before dying) or extra lives. You also collect bottles containing pages of the titular Thievius Raccoonus, which will eventually unlock really useful new moves and abilities that you can use, such as slowing time or creating a decoy to distract enemies.
So the core gameplay of Sly Cooper is rock solid, but the game’s presentation, characters, and story really elevate it. The game has a cartoonish, 50s noir style which is complemented by its cel-shaded graphics which have aged very well. The characters aren’t revelatory, but they’re fun: Sly’s your charming rogue, Bentley’s the high-strung brains of the operation, Murray’s the dumb-but-eternally-loyal and eager getaway driver, and Carmelita is the cop who will stop at nothing to put Sly behind bars… but is her obsession purely professional…? The whole thing is wrapped around a plot which is just perfect for video games: Sly comes from a line of master thieves who have recorded the techniques they have developed in the Thievius Raccoonus, but the book is stolen and his family murdered by a group of rival thieves called the Fiendish Five. Sly and his friends then need to reclaim his family’s knowledge and get revenge on the Fiendish Five. It’s a fairly simple setup, but compelling. Sly Cooper is just an extremely well thought-out video game: everything has been carefully considered and maximized to make Sly Cooper the best it can be.
23. Sly 3: Honor Among Thieves (2005, PS2)
Sly 3 doesn’t evolve the formula of the franchise very much: gameplay-wise, it’s more of what was established in Sly 2 (basically: Bentley and Murray are new playable characters, the one-hit-kill system is gone, stealth is de-emphasized, and guards can be pickpocketed for easy cash for upgrades). What really makes Sly 3 stand out is its exemplary writing, which builds upon all the developments made over the course of the trilogy. In this game, Sly is putting together a team to pull off a heist against Dr. M, who has taken over the island housing the Cooper family vault. Dr. M has been attempting to break inside to steal the generations of hoarded treasure held within. It seems like a pretty simple setup, but there are some major revelations and developments which twist the way we view our characters and the Cooper family in surprising ways. We also get several returning characters from the previous two games, some of which have undergone major developments. Most notable of these is Panda King, one of the Fiendish Five who killed Sly’s parents. The gang finds themselves having to recruit Panda King in order to successfully pull off the heist, but the tension between Sly and him is so taut that feels like it could snap at any moment. It is great writing, daring to take the difficult route, and the game is so much more rewarding for it. Dr. M is also a surprisingly complex villain, who I’d argue is the best antagonist in the franchise. Building up the gang and then executing this final heist makes for one of the most enjoyable game stories in its own right, but when you combine that with the things this game is doing as a trilogy-ender, it is a monumental achievement.
22. Ninja Gaiden (2004, XB)
Ninja Gaiden is notorious for its difficulty, demanding precision and quick reflexes to survive on higher difficulties. The game’s hero, Ryu Hayabusa, is a demon-slaying ninja badass and one of the coolest game heroes around. The story is functional by video game standards: Ryu needs to get back the Dark Dragon Blade, which was stolen from the Hayabusa ninja clan by the Vigoor Empire, all while battling ninjas, Fiends, and the Black Spider Clan. That’s right… there’s actually a game in my top one hundred which is here purely because of the gameplay. Ninja Gaiden‘s harsh challenge is tough, but fair, demanding that you learn its systems if you want to succeed. When you do overcome a fight that has been challenging you, the feeling of satisfaction is palpable, and the the fight is all the more manageable for it. Something I like about this game in particular which makes it stand out from its sequels is the hub-based world. For most of the game, you explore the streets of Tairon, battling enemies as you gain access to new areas and uncover some cleverly-disguised secrets that only a true ninja could perceive. I know that it’s been said before about this game, but it really does bear saying: Ninja Gaiden makes you feel like a true ninja badass and is well worth experiencing if you can stomach the challenge.
21. Bioshock (2007, PS3)
Whenever I recount my time with Bioshock, I always go back to the very first thing that happened to me in the game. You have an extremely brief opening cutscene where your plane crashes into the ocean and your character rises to the surface of the water to see flames from the wreckage. I sat there a good twenty seconds or more, expecting some object to come into frame from off-screen. Then it hit me: No… these are the in-game graphics!? The reflection of the fire on the water looked so good that I literally thought it was a CGI cutscene. The game was that immersive at its very first second. Then you travel down into the undersea city of Rapture and your mind is in absolute awe of what you are seeing. An art deco, undersea, libertarian dystopia is such a unique setting. And then the horror elements creep in, as you see what has become of the city and its denizens. By that point, you are just fully invested in Bioshock‘s atmosphere: this is just the coolest world design in videogames. It also, quite famously, has some of the best writing in any game of the time, being philosophical while also keeping it entertaining. It also has one of the best twists in gaming, a mind-blowing revelation that makes you re-evaluate your sense of self. And then there’s the plasmid powers you collect and upgrade during your journey which shake up the gunplay in unique ways.
Oh, and who could ever forget the first time they saw a Big Daddy? How about the sheer terror the first time you had to kill one? This game is fantastic, full-stop.
This was a game that I had heard about while growing up. I was really into gaming magazines around 2001. One of the first gaming magazines I bought was the Metal Gear Solid 2 cover story for The Official US Playstation Magazine, which really hammered home to me that these games were must-plays (I can still remember their guide on how to fake being sick to get a whole extra-long weekend off to play it). They all sang the praises of the Metal Gear franchise, and they said that Metal Gear Solid was the best one. That said, I wasn’t able to play them at the time: I was eleven when MGS2 came out, I was not allowed to play any M-rated video games, and I didn’t have any money to get them myself.
Around 2005 or 2006, I had fallen in love with the stealth action genre after playing all of the Splinter Cell released to that point. I was itching for some more top-tier stealth games, so obviously Metal Gear Solid was at the front of my mind. I managed to get a ROM of Metal Gear Solid, which I played on an emulator on my PC. I’ll tell ya, over the course of the next few evenings, my mind was blown. I loved the over-the-top action and characters. I loved the equally philosophical and farcical narrative. The presentation was incredible. I loved the insane, fourth-wall breaking gameplay moments. The boss fights were incredibly unique. It was just such a good experience that I started checking out the other games in the franchise as well, and soon Metal Gear Solid was even more important to me than Splinter Cell itself.
19. Shadow of the Colossus (2005, PS2)
Another one of those “early, undeniable examples of games as art” games, Shadow of the Colossus is unrivalled in its atmosphere. The colossi are these majestic, sombre beasts who you have been tasked to slay in order to resurrect an mysterious woman. The resulting journey is nearly wordless, which just absolutely sucks you into this game’s world. Each colossi is not fought in the traditional sense: they are all have a fairly simple puzzle based around their movements which, once solved, will allow you to climb onto their body and stab a weak point until the beast dies. Each colossi is unique and memorable, and the minimalist story really packs an emotional wallop. It’s just such an impactful and artfully-crafted videogame, you just can’t help but be in awe of the talent on display here.
18. Nioh (2017, PS4)
Once again, Team Ninja have an entry that I love entirely for the gameplay. Nioh has the best combat system of any game I have played, bar none. It plays largely the same as any other Souls-like: a stamina bar, challenging difficulty, if you die you lose your souls, etc. The main differences are that Nioh has a loot-based item drop system and that the game is linear and mission-based, rather than having you seamlessly navigating an open world. However, Nioh introduces two mechanics that shake up the Souls formula in some genius ways:
Weapon Stances – Each weapon you get has three stances for your attacks: high for a slow, powerful attack, mid for a standard attack, and low for a quick, weak attack. Right away, this wildly expands the options you have at your disposal for any given combat encounter, but certain enemies are also immune or vulnerable to specific stances.
Ki-Pulse – Nioh has a sort of “active reload” system to instantly replenish your stamina bar if you time a button press correctly. You will quickly get to grips with this maneuver when you play, it makes for a really cool system where you encourage aggressive combat maneuvers in order to maximize your damage dealt.
The game also retains Team Ninja’s pedigree for difficulty. In that quality, Nioh definitely stands out compared to its peers, with a level of precision required that rivals Ninja Gaiden. And I just love the guardian spirits, a charming gang of adorable, magic spirit creatures that give you special powers if you become friends with them. Nioh is just a great game to play, constantly pushing your limit and forcing you to get better.
17. Halo 2 (2004, XB)
Halo holds a special place in my heart. Some of my fondest gaming memories are playing Halo and Halo 2 at a couple youth group LAN parties as a young teenager. I loved the first few Halo books. The writing and world-building was (and still is) top notch. Despite this, I didn’t have an Xbox or a decent PC growing up. So, when the LAN parties stopped happening, I never really got a chance to play them again. I did, briefly, have an Xbox 360 and I attempted to play through Combat Evolved a couple times, but found that I didn’t like the game’s design. As a result, I never made it to trying Halo 2.
Fast-forward to a earlier this year. The Master Chief Collection was on sale for cheap on Steam, and I finally have a PC capable of playing it. Fuckin’ sold, that was an awesome deal. Once again, I found myself growing tired of Combat Evolved‘s design, but I forced myself through. Even then, it took me a couple months to get through to the end.
But then I started Halo 2. MY GOD, the sheer leap forward in every single way is spectacular. The story presentation and writing are legitimately film-like. The level design is much clearer and more distinct. Gameplay is improved in every regard. Dual-wielding guns is such a power trip. Even the small changes to the shields system make you feel more like a badass than before. I would turn off Combat Evolved after one or two levels, but for Halo 2 I blitzed through three levels back-to-back without breaking a sweat, and the only reason I didn’t go any further was because I badly needed to sleep. I got through Halo 2 in about a week, and loved it the whole way through.
16. Call of Duty 4: Modern Warfare (2007, PS3)
The release of Call of Duty 4 was a bomb-shell in the gaming industry. This one game effectively killed the World War II shooter, which had been a gaming staple for a decade. Suddenly, every shooter had to be a modern military game. Its set-piece moments were jaw-dropping and influenced countless imitators. Halo had been the top dog shooter up until that point, but then this game dropped and arena shooters were decimated. Given that we were still early in the Iraq War at the time, the game had an extra layer of relevance. At the time, this game felt kind of dangerous and daring for how much it invoked real-world politics. This also, of course, started the annual Call of Duty release schedule that we are all sick to death of now.
And, in spite of all that, Call of Duty 4 is still as incredible as ever. This game looked unbelievable back in 2007. The campaign was shockingly strong for a straight-forward shooter game, with memorable characters, cool set-pieces and some gut-wrenching moments. It’s the sort of game that demonstrates the effectiveness of a good, curated, linear campaign: the iconic “All Ghillied Up” is almost entirely scripted, but goddamn if it does not get your pulse pounding. You may be done with Call of Duty now, but anyone who was there for Call of Duty 4 knows that that game was (and still is) a singular experience.
15. Ape Escape (1999, PS1)
Of all the games that were bought for us as a gift that I didn’t have much interest in until I played it, Ape Escape is the best of them. My brothers and I got a PlayStation for Christmas in 2000 and Ape Escape was one of the games we got with it. We didn’t have a whole lot of interest at the time though: what, we’re trying to catch some monkeys? Eh, sounds boring. But then, being bored one day, I decided to try it out, and quickly got sucked in. Now, Ape Escape is my most-replayed game of all-time. I must have played through it at least seven times since I first bought it. Hell, one of the first things I did when I got my Retroid Pocket 4 Pro was to load Ape Escape onto it and then play through the whole thing again, which ultimately led to me writing the Ape Escape Love/Hate series.
The core 3D platforming gameplay of Ape Escape is solid, but what really makes it stand out is the innovative use of the (at the time) brand-new dual analog controller. The left stick controls movement and the right stick controls whatever gadget you currently have equipped, giving you a level of control and precision unseen in console games up to that point. The gadgets themselves are also really neat, with the stun baton to whack monkeys and enemies, the sling shooter to snipe distant targets, the sky flyer to launch yourself high into the air or extend a jump, and the RC car to access small spaces (and harass monkeys), just to name a few of them.
Also… chasing the monkeys is just a hell of a lot of fun. They have three levels of alertness, so approaching them strategically is incentivized, and each ape has its own level of aggression and speed, making each encounter feel fresh. The time-travelling structure is also inspired, shaking up the environments and gameplay after every three levels so that it never gets stale. I love this game so much and I can guarantee that there will be even more replays of it in the future.
14. Super Mario Bros. 3 (1988, NES)
Super Mario Bros. 3 is one of those sequels that blows its predecessors out of the water. Super Mario Bros. was a monumental game for its day, but Super Mario Bros. 3 surpasses it in every single metric. Its graphics are some of the best on the NES, and it’s wild to see how much they have improved in only three years (or two years if you consider that the Japanese version of Super Mario Bros. 2 originally released in 1986 and had basically the same graphical fidelity as the first game). There are way more levels and you navigate through them using an overworld map. There are even more clever secrets than before. The power-ups are more varied and are super cool: leaves and tanooki tails to fly, the frog suit to swim easier, and the hammer suit to hurl hammers at enemies. The combination of ambitious innovation and flawless execution make Super Mario Bros. 3 a timeless classic and one of the few NES games that is just as enjoyable today as it was back then.
13. Uncharted 4: A Thief’s End (2016, PS4)
So, as you can see from my placement of Uncharted 2 on this list, I really loved that game. However, it’s follow-up, Uncharted 3: Drake’s Deception, was pretty disappointing to me: sure, the set-piece moments were better than ever, and there were some fun new characters, but the story felt like it was an after-thought, which made it by far my least favourite game of the trilogy. I figured that Uncharted 2 would remain the best of the franchise and that would be the end of it, but then a fourth game was announced for PS4. I was optimistic, but I really did not expect to love Uncharted 4: A Thief’s End as much as I did. The writing is the best in the franchise, bar-none, giving us a satisfying and mature end for these characters we’ve grown to love so much over the course of the series. The set-pieces are grander than ever, which is aided immensely by the improved technology since the previous game. The game also takes a cue from the Tomb Raider reboot, introducing some hub areas where you can explore and pick your next mission to complete. The game is also just gorgeous, putting its predecessors to shame in this regard (and those games were no slouches in the graphical department either). For the most part, Uncharted 4 is more of the same, but executed at the absolute best this franchise has ever seen.
12. The Last of Us (2013, PS3)
The Last of Us is one of those games that is so good that it transcended the gaming industry and is just part of the wider culture. This sombre, contemplative, depressing, and tragic story of a man and a girl travelling across a post-apocalyptic wasteland is easily one of the best-told narratives in the medium. Its ending is legendary, one of the most iconic in modern pop culture, and one which has been heavily-debated since it released (for my part, Joel did not do the right thing, and the Left Behind DLC is meant to make this unmistakably clear to the audience).
On top of this, I think that the gameplay is also very underrated. As opposed to Uncharted‘s bombastic action, the gunplay of The Last of Us is slower, more visceral and dangerous. You’ll often spend significant chunks of gameplay using stealth, avoiding alerting enemies as much as possible until you have to engage them. The cordyceps zombies also present a significantly different threat to the human survivors you come across, giving the game a survival horror tone. The way that you scavenge for supplies to craft make-shift weapons and items was also quite innovative for the time, and would be replicated for years after release by other games. This system encourages careful exploration and is done in such a way that you never have enough supplies to do everything you may want to. The Last of Us is Naughty Dog at their peak, flexing their development muscles to create an unforgettable experience.
11. Dead Space 2 (2011, PS3)
Your mom may hate Dead Space 2, but I love it. The game comes out of the gate swinging, featuring one of the most horrific and pulse-pounding opening sequences of any video game. The original game was already great, but Dead Space 2 ups the ante by bringing in more Uncharted-style bombastic action set-pieces. Contributing to this is that Isaac Clarke is no longer a silent protagonist, which allows him to have a lot more personality. This also enables the game’s more personal story, which sees him grappling with crippling PTSD and mental illness due to the events of the first game. Perhaps the most remarkable thing about all this though is that the game does all this without compromising the survival horror tone – this game is every bit as scary as its predecessor, while also being an action thrill-ride at the same time. The franchise’s core gameplay is every bit as compelling as before, but is now more refined and has more variety of weapons and enemies to keep combat fresh and endlessly replayable. Of all the new additions, my favourite is the Stalker enemies. While most necromorphs will attack the moment they spot you, Stalkers mess with your head like a pack of wolves. They’ll surround you, peek at you to see if you’re distracted, fall back if you get too close, and then scream like a banshee as they charge in for the kill. The first time I fought these guys, I was absolutely terrified, it was such a special experience. The Tormentor is also one of the coolest and most intense boss fights I’ve ever experienced, despite basically being an interactive cutscene.
10. Pokémon HeartGold (2009, DS)
I played countless hours of Pokémon Gold and Silver back in the day, making them one of my favourite games in the franchise. I think that the fourth generation of Pokémon games were the peak of the franchise’s gameplay. Combine these two interests together and we have Pokémon HeartGold and SoulSilver, remakes of the gen two games utilizing the engine and mechanics of the fourth generation games. These games are the ultimate Pokémon adventure, full-stop. The difficulty is legitimately challenging, even for series veterans. The Johto region feels lived-in and steeped in history. The post-game in Kanto is expanded further as well, making this meaty second chapter even more impressive. Your favourite Pokémon follows you around on the overworld. It’s just the best rendition of the classic Pokémon formula, I don’t know how else I can describe it.
9. God of War (2018, PS4)
I’ve dabbled in the God of War games, but I haven’t gotten a chance yet to play through them all. However, I decided to try out the 2018 God of War and was surprised by just how good it was. While I do think that the story of the Greek God of War games is underrated and a lot more interesting than people give it credit for, God of War‘s 2018 entry is unrivalled in its writing. Maybe it’s just the timing of the game for me: I got this right after the birth of my son, so the tale of Kratos and his son, Atreus, on a journey to spread the ashes of Atreus’ mother really resonated with me. Seeing a more matured Kratos lends him so much more depth and sympathy – you can see how he’s trying to direct Atreus to not make the same mistakes he made. And then there’s the primary antagonist, Baldur: he looks like a drunken weenie the first time you see him, but he quickly demonstrates that he is incredibly dangerous, unhinged, and a legitimate threat to Kratos.
The game is also just gorgeous. The environments are breath-taking and I love all the colourful particle effects which just make the game look magical as you go on your Norse journey. The way that the game plays out like one long, seamless take keeps you immersed in this world.
The game also just plays well. I wasn’t sure if I’d like an over-the-shoulder melee system, but it actually plays about as well as the more traditional action game camera in the previous God of War games. It plays like a nice middle-ground between a Souls-like and a more traditional character action game. Kratos’ axe is also just the coolest melee weapon ever, allowing you to throw it and then have it fly back into your hand with the press of a button (hitting any enemy it crosses paths with on the way there for bonus damage). Combat is bloody, visceral, and satisfying. I particularly like the optional Valkyrie bosses hidden around the game world, which really test your skills and are a stiff challenge.
I loved my time with God of War. I rarely bother to platinum games, but I knew pretty early in that I was going to see it through for God of War. I loved this game so much that I had to see everything it had available, including all the optional challenge areas.
8. Dark Souls (2011, PS3)
Another example of “gameplay isn’t everything”. I think that Nioh is superior to Dark Souls in terms of its combat. However, I think that Dark Souls is, without question, the better game overall due to its less-obvious qualities. Of these, the best is the looping, open-world structure. Each area is designed like a linear level, funneling you through encounters until you reach a boss or the next area. However, many of these areas will connect to other areas, giving a sense of interconnectedness and geography to the world. There are several moments where you will reach a gate or an elevator, use it, and then be shocked to see that you’re now in an area you’ve already explored. The sense of verticality is also very unique, as the world is designed as a bunch of regions stacked on top of each other: at the bottom are the ancient, forgotten dregs of this world, while the top is the isolated, gilded realms of the gods themselves. That’s right, FromSoft have mastered world design so well that it’s even thematic. The game’s story presentation is also very unique, choosing to communicate it through the environment and item descriptions rather than an overt narrative. This intentionally leaves much of the story up to interpretation.
Of course, then there’s the combat system, which still influencing the industry to this day. It is relatively slow and deliberate, forcing you to carefully consider every action you make while balancing your stamina bar and limited healing resources. The enemy designs are inspired. Creatures like the Gaping Dragon, Pinwheel, and The Four Kings are such unique concepts, but so evocative and mysterious in their design. The difficulty is tough but fair. Pretty much anyone is capable of overcoming its challenges with a little perseverance and, if that fails, level-grinding.
Dark Souls is a game which just feels like a myth brought to life. Exploring and battling through its forlorn world is haunting, like you’re trespassing in a place you were never meant to be. Its difficulty may have been long surpassed by its successors, but it is still a good challenge and as satisfying as ever to overcome.
7. Bloodborne (2015, PS4)
Bloodborne was my first Souls-like experience. Like Dead or Alive, this game came across my radar after completing the Ninja Gaiden games. I was looking for another game with challenging hack ‘n slash combat, and Bloodborne came highly recommended. With that in mind… I was not primed for the kind of experience that Bloodborne was offering. The combat was fast, but not as fast as Ninja Gaiden, and there was no way to block, so I kept getting destroyed by basic enemies. The gameplay wasn’t really “clicking” with me, but I decided to persevere. However, piece-by-piece, it started to click in place in my mind. The importance of shortcuts, parry and dodge timing, careful analysis of the area, and stamina management really started to settle in. Around two-thirds of the way in, I “got” it, but I still wasn’t blown away. However, this all changed in one moment: I bought the DLC, played through to Lady Maria of the Astral Clocktower… and I was stuck. She absolutely destroyed me multiple times. I tried to summon a co-op helper, but no one was answering my bell. I distinctly remember sitting there, waiting for minutes for someone to respond, when I decided: “Fine, I guess I’m just gonna knuckle-down then and do this myself.”
I died, over and over again. I must have done so over twenty times, but I was slowly learning more and more of Lady Maria’s moveset, getting her health down lower and lower as I went. When I finally managed to overcome her, it was like a deadly ballet between the two of us, and I felt a satisfaction that I had never felt in the game up to that point. I was changed, and I resolved to try to beat every Souls-like boss thereafter without summoning, if I could reasonably do so. It was the true start of my love affair with these games.
Like Blasphemous, Bloodborne is a game which ticks all my boxes. Souls-combat, but faster and more aggressive? Gothic and eldritch horror aesthetic? Blood? Fanatics? Goddamn fuckin’ werewolves!?Bloodborne is what you get when you take a solid gameplay foundation and then commit to a particular vision and aesthetic, elevating the game well beyond the sum of its parts.
6. Civilization VI (2016, PC)
While I think I’d say that Civilization IV was the most fun I had with a single Civilization game, if I had to pick one of these games to play today, it’s Civ VI, without question. Starting with Civ V, Firaxis shook up the series’ formula in some pretty fundamental ways, moving from a grid to a hex-based map, and making cities far more specialized and customizable. While I wasn’t a big fan of Civ V, Civ VI plays like a more refined version of that game, but with several more features added. Shaping your nation and conquering the world through diplomacy, culture, religion, or good ol’ fashioned war is a lot of fun, and no two games will ever play out the same. There are also an overwhelming number of civilizations available to play, providing even more variety and incentives to play the game how you want. I also like how the game doesn’t really force you into picking one particular victory route early – it’s completely viable to wait until the modern era to really commit to a victory condition (unlike, say, Civilization: Beyond Earth, where you’re pretty much knee-capping yourself if you diversify your nation’s interests). The “just one more turn” gameplay is just as addictive as ever as you set goals for yourself and see them come to fruition over the course of the next few turns and there are lots of options to customize the game to your liking (including options for some pretty wild, alternative game modes).
5. Tetris (1989, NES)
Tetris is the definition of “simple, but addictive”. Drop shapes made up of four blocks, try to make lines with them to clear them out before they reach the top, you get more points if you clear more lines at once, and the game gets faster the more lines you clear. Good luck, and try to get the highest score possible.
There are lots of different versions of Tetris out there: they’re all great, and I really like the quality of life improvements that have been developed over the years, but the NES version was the one that first got me into the game. Whenever I start replaying Tetris, I can see the blocks falling in my mind where ever I go. I used to keep track of my scores in NES Tetris… I wanted to show off a bit, but I can’t find the text document anymore… As I recall, I used to be able to get to around level twenty-five when it starts getting too fast to react, and I’d get as many four-line-clears as possible up to that point.
4. Resident Evil 4 (2005, GC)
Resident Evil 4 is an incredible game. The ambition, innovation, and attention to detail on display is staggering. Resident Evil games had grown really stale at the time, so it came out at the perfect moment. What makes this more remarkable is that the game basically plays like a classic Resident Evil game, only with full 3D and manual aiming, but its changes make it feel like a wholly new thing. Its over-the-shoulder camera revolutionized third person videogames and resulted in numerous imitators for years thereafter. It established Leon Kennedy as an absolute badass. There are just so many things you can say about this game’s legacy, that you really can’t understate how important it was.
For my part, I owned a copy of Resident Evil 4 on PS2 back around 2008, but I hadn’t really gotten past the opening village battle. It wasn’t until 2021 when I started the Resident Evil Love/Hate series that I finally decided to commit to trying it out. While it took about an hour to get used to the controls, once I acclimated, I was stunned at just how refined this game was. The whole experience is so lovingly crafted and varied that it never gets boring, and the campy tone doesn’t diminish from the horror elements. Then there’s all the little, optional systems you can engage in: treasure-hunting to get extra currency, the gun range where you can win prizes for good shooting, and you can do tricks during the jet ski section. Hell, what other game makes inventory management fun!? There’s a reason why this game is still being re-released and remade twenty years later, it’s an essential pillar of the gaming landscape and a monument to fantastic design.
3. Baldur’s Gate 3 (2023, PC)
Back during the early-to-mid 2010s, video games liked to tell us that “your choices matter”. However, after scores of Telltale and Quantic Dream games, the Mass Effect trilogy, Fallout, etc, gamers came to realize the truth of the matter: making consequences matter in games is hard. If you give the player the ability to make a choice which could change the game world, it’s simply too much work to make that choice actually matter in the grand scheme of things. At most, you may create a short, branching path, but it will just lead back to the main path again. Have to choose to let one of two characters die? You can be sure that the one you saved with have basically no bearing on the plot, or they’ll do the exact same things the other character would have done anyway. Hell, Fallout will let you kill just about anyone, but if a character is actually important, you can shoot them as much as you want, but they’ll just fall unconscious and forget anything happened the next time you see them. Once you realize this, it really destroys the illusion and can make certain choices completely worthless when you encounter them. I remember distinctly feeling this in The Walking Dead: Season 2 when you had to choose which characters would live and die… effectively rending that character useless for the rest of the journey, since they could be dead in another player’s playthrough and it would be too much effort that half your player base will never see to give them a major role thereafter.
Baldur’s Gate 3 throws this conventional wisdom out the window. While the game’s narrative does move forward on a fairly linear track, the amount of influence you have over events is astounding. While it doesn’t offer nearly as much freedom as a proper, tabletop DND game, it comes unreasonably close to achieving that. Like, for the earliest example of this unprecedented amount of freedom: you come across a druid grove where tiefling refugees are staying. The relationship between the grove and the tieflings is extremely strained, but the tieflings can’t leave because the road to Baldur’s Gate is too dangerous due to raids by the Cult of the Absolute. As a result, they’re on the verge of committing violence to stay in the safely of the grove. Initially, you can pick a side to support, or you can choose to try to find a compromise. Or, later on, you come across the Cult of the Absolute, who are trying to kill both factions, and you can choose to side with them. The expectation is that you will find a peaceful solution, but if you want to side with the cult and massacre everyone, that is completely viable. In fact, an entire character and their unique storyline is locked behind this option. Hell, you can choose to kill everyone on all sides and the game will just continue to go along, locking off content as characters abandon your party and questlines become unachievable. Characters will even acknowledge all the unexpected little choices you make. And, if this isn’t ridiculous enough, the game is fully voice acted, meaning that the amount of work that has gone into planning for every eventuality players could make is mind-boggling. Most players will never see much of this content. Hell, there’s an entire world of animals and corpses you can talk to, but you will only ever see it if you cast “speak with animals” or “speak with dead”, respectively (and you really should, these interactions are amazing). Hell, when you do reach Baldur’s Gate, much of the populace are interactable, with dialog trees and fully voiced performances. Many of these characters are there for nothing more than flavour, and all it does is make the world more believable and lived-in. That is the scale of the work put into Baldur’s Gate 3, and the more you think about it, the more it defies comprehension.
That’s all well and good, but the game is also just really fun. Due to the level of freedom, you get to approach its turn-based combat system in whatever ways you see fit. You really come to love the characters here, customizing their abilities to suit your needs, and forming relationships with them as you advance their side-quests. Baldur’s Gate 3 is an unreasonably good game, the sort of experience that you simply cannot expect anyone else to one-up. It will be the sort of game that we point to even a decade from now as an unrivalled pinnacle of the industry and one that you can go back to over and over again and find new secrets each time.
2. Splinter Cell: Chaos Theory (2005, PS2)
As I said in the Metal Gear Solid entry, I became interested in those games because of my love for Splinter Cell. When I was in my early teens, I bought Splinter Cell: Pandora Tomorrow at a street fair, and it began my love affair with stealth games. I loved it and made sure to pickup a copy of the original game shortly thereafter. With those two completed, we came to the newest game at the time: Chaos Theory. I had loved the previous two games, so I was super excited to get it… but, I couldn’t. See, Chaos Theory was the first Splinter Cell game to be rated M. My parents had a “no M-rated games” policy for us kids. I was only sixteen, I couldn’t wait another year to be old enough to play them! No, I was going to have to put my own roguish skills to the test…
So, one day when we were at Wal-Mart, I headed to the electronics section to look at the games. There was Chaos Theory, locked behind the game cabinet. I asked the clerk to get it out of the cabinet and ring it up. I figured he was going to ask me to verify my age, which would dash my plans, but he didn’t bother. I snuck it home and kept the game hidden so that my parents would never know that I had bought an M-rated game. My brothers and I were very good kids, so intentionally disobeying them like this was exciting and dangerous. It’s kind of silly, but it felt like I was the one sneaking about and pulling off secret missions without getting caught.
Chaos Theory plays much like its predecessors, but with some tweaks. These include a new noise meter, an EMP device for your sidearm, improved graphics and animations, smarter enemies, and a choice of lethal and non-lethal melee attacks. The missions are also really well-designed. Most famous of these is the bank heist near the start of the game, which is just a flawless example of thrilling game design. The level mixes infiltration, exploration, combat, and puzzle-solving in such a glorious blend. The voice cast are on top form here, especially Michael Ironside as Sam Fisher. His performance in this game makes Sam Fisher downright terrifying at times. Chaos Theory was the absolute peak of Splinter Cell, before Ubisoft felt that the series needed to be shaken up. As a result, we’ve never really gotten another game quite like it, making it a game that is still worth playing to this day.
I love the writing. The political philosophizing stands side-by-side with big, dumb action sequences, and juvenile humour. The journey that Naked Snake goes on in this game is genuinely moving.
I love the characters. Naked Snake is the best Metal Gear character, bar none. The Boss is just incredible, and her motherly relationship with Snake adds so much emotional weight to the plot. EVA is a great Bond girl; enticing, but one who you never really think you can trust. Ocelot is a lot of fun when he shows up, I love that they gave him a more immature personality to match his age. Volgin is such a fun villain to hate; joyously evil and sadistic.
I love the boss battles. The obvious highlight is The End. The first time I came across him, I knew his reputation. I got shot by him almost immediately without even seeing him and decided right there to chicken out on the fight. I knew about the clock-skip trick, where you can win the battle automatically by moving your system clock forward a week, which causes The End to die of old age. I did it, but I didn’t feel good about it. Some time later when I replayed the game in the Subsistence re-release, I decided to knuckle-down and do the fight for real this time. I can distinctly remember running around lost for the first part of the fight, trying to figure out where The End was hiding. However, I soon began to realize all the ways you could pin-point his location, and soon it was a game of hunter vs hunter. I think it took me an hour and a half, but I gunned him down and felt the rush of satisfaction for overcoming such a creative and unique challenge.
I love the setting. A jungle in Russia is a pretty wild setting, but it’s so evocative. The jungle is the realm of predators, so being able to hunt enemies here makes you feel so cool. The setting also takes Metal Gear from the hallways and corridors they had been in up to that point. Levels are open, with lots of room to maneuver and pick your approach. You have to hide in plain sight, which is so much more badass than hiding in a locker.
I love all the ways you can mess with guards. For example, you can blow up their food supplies to make them hungry and vulnerable to eating poisoned food that you’ve left around. You can also blow up their ammunition stores so they can’t shoot you if you’re spotted. You can also throw a pissed-off, poisonous animal at them to get it to bite them to death.
I love the new survival elements. Having to hunt for food to sustain yourself really hammers home the idea that you’re an operative deep in enemy territory. I love how the camouflage meter facilitates the more open level designs without sacrificing the stealth gameplay.
I love the ending. Snake Eater has my favourite ending of any piece of media. The first time I played this game, I was blown away by the final boss fight and cutscene. It re-contextualized the game’s events and really made me question what I had done to get to this point. It’s beautifully acted and emotional. It’s the cherry on top of a perfect sundae.
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A childhood classic, Demolition Racer is what it sounds like: combine demolition derby destruction with a high-octane racing game. The results are, predictably, catastrophic, with cars slamming into each other at high speeds, vehicles sent flying everywhere, catching fire, and exploding. This isn’t just nostalgia talking either, I’ve gone back and replayed this game multiple times in the past few years and it is always a blast.
49. Gravity Rush 2 (2017, PS4)
Gravity Rush 2, and its predecessor, are joyous games. Their plots are uplifting, full of positivity in the face of danger. Their characters are charming and unique. Most importantly though, the central mechanic reminds you of the simple joy of play. Too many games have movement and traversal as a lengthy chore that you have to manage in order to get from point A to point B, and you spend more time bored and annoyed getting to your destination than you actually do enjoying yourself (looking at you Witcher 3…). Gravity Rush flips the script on this: being able to shift gravity at will to fall towards your chosen destination is as breath-taking at minute one as it is at hour fifteen. It matters less that combat is a bit finnicky when the moment-to-moment gameplay is this fun and the writing is this charming. Gravity Rush 2 is pure joy and the industry needs more games like this in it.
48. Twisted Metal: Black (2001, PS2)
While Twisted Metal 2 is probably the best-playing Twisted Metal game, I’ve reiterated over and over here that gameplay isn’t everything, and Twisted Metal: Black is one of the best examples of this. The game is bloody difficult, perhaps too much so at times and the game can feel downright unfair. However, where Black really stands out is in its presentation and story. Black is easily one of the darkest video games ever released. Its cast are a bunch of psychopaths let loose from an insane asylum, all doing battle with each other and tearing across the city of Midtown in order to be granted a wish of their choice. You’ve got such colourful figures as No-Face (a professional boxer who lost a fight, causing a doctor who had bet on him to remove his eyes and tongue and then stitch them shut), Mr. Grimm (a Vietnam vet and former POW who is wracked with PTSD and a craving for human flesh), Preacher (a delusional pastor who downed a goddamn baby because he thought it was possessed), Warthog (a serial killer whose wish is to remove the part of the brain that makes him feel remorse when he kills), and of course Sweet Tooth (an unrepentant, murder-obsessed serial killer who wears a clown mask). Each character has a very dark and disturbing story that plays out over the course of the game, and the game’s world is suitably gloomy and depressing. It’s so over-the-top grimdark that it’s cartoonish, but then loops right back around to being properly dark stuff due to how hard it commits to the whole thing.
47. Resident Evil 2 (2019, PS4)
Resident Evil 2 remake was a lightning rod moment for the gaming industry, kicking off the remake craze we find ourselves knee-deep in. The game is just a bloody good, tense thrill-ride. Zombies have not been this threatening in decades, taking tons of ammunition to put down for good, which incentivizes you to conserve your resources and avoid them where ever possible. The design of the RPD is also still one of the most memorable environments in gaming and it’s just as compelling here in full 3D as it was on PS1. While it does stumble a bit towards the latter-half and the story isn’t all that interesting, Resident Evil 2 is one of those games that you cannot stop thinking about once you pick it up.
46. The Movies (2005, PC)
Peter Molyneux is notorious for over-hyping his games, but the one time he actually struck pure gold has to be The Movies. As a business management sim, it’s pretty cool: you manage a movie studio, building sets, hiring star directors and actors (and keeping them happy), managing crew, and developing technology from the silent era up to the modern day. All this is decent enough for a game in its own right, but what catapults The Movies to the stratosphere is the in-game machinima tools that give you a lot of freedom to create your very own movies. I’m talking dozens and dozens of scenes (each with variants and customization options), systems to allow the characters to lip synch with any recorded audio, special effects, and a basic video editor. It’s a mind-blowing amount of freedom, to the point where I made a feature-length spy movie back in high school using The Movies.
45. Blasphemous (2019, Switch)
Sometimes a video game comes out which is just made for me. Blasphemous scratches so many of my itches: Metroidvania, Souls-inspirations, religious fanaticism, dark fantasy, blood, penitence… I picked it up in a sale a few years ago and I was glued to my Switch for a week straight, obsessed with journeying through this nightmarish civilization to prove my devotion to the faith. It isn’t doing much different than your average Metroidvania game, but it hits so many of my interests that I can’t help but adore it.
44. RollerCoaster Tycoon (1999, PC)
Like many other 90s kids, I got this game for free in a box of cereal. The game itself is the pinnacle of management sims, with a simple premise: build the amusement park of your dreams. Build attractions, setup decorations to make things more aesthetically pleasing, landscape to your liking, optimize your pathways, and design your very own rollercoasters (which, inevitably, will be too intense for the guests)! Each guest also has their own name, amount of money they’ll spend, and likes and dislikes which can help you tailor the park to maximize returns.
Of course, that’s all good if you’re playing the game as designed. You can easily turn RollerCoaster Tycoon into a psychopath simulation as well. Make vomit-inducing rides and then charge your guests to use the bathroom. Are guests mad that you charge them $5 to go for a piss? Grab ’em and throw them on punishment island, where they’ll angrily run in circles until you send the island into the ocean and drown everyone. Or, the classic option: build an unsafe rollercoaster and watch it crash and explode, killing everyone on board. You don’t have to be a dick in RollerCoaster Tycoon, but it’s a lot of fun that the game gives you the freedom to do so.
43. The Walking Dead (2012, PS3)
Telltale had been making narrative, episodic games since the mid-2000s, but they never really had any major hits, and their biggest swings (looking at you Jurassic Park) were considered fairly poor and did not make a splash. So, for a while, Quantic Dream’s games were the gold standard for narrative games, with Indigo Prophecy and Heavy Rain being quite notable titles of their eras. However, even back then, the writing of those games was heavily criticized, but I (and many others) excused it, because we couldn’t really get these kinds of cinematic, narrative-based experiences elsewhere.
Then Telltale’s The Walking Dead came out, and Quantic Dream were obsolete overnight. The Walking Dead established a formula of narrative, choice-based games that Telltale would milk dry over the next few years, but The Walking Dead stands tall amongst them just due to the strength of the writing here. The tale of Lee and Clementine is unforgettable: an escaped convict stumbles across a little girl whose babysitter has been killed during a zombie apocalypse and takes her under his wing. The illusion of choice is very much a thing here, but it doesn’t really matter that much when the journey itself is so good. What makes it so good are not the big choices anyway, it’s the little ones – do you go all-out to protect Clementine, or do you try to preserve her innocence as best you can? No other video game has managed to make me cry like this one, and I imagine if I were to replay it now, after becoming a father, it would leave me absolutely devastated.
42. Warhammer 40,000: Dawn of War (2004, PC)
I’ve been a Warhammer 40k fan for most of my life, and I can say with confidence that the original Dawn of War is still unsurpassed as far as 40k games go. An old-school RTS which innovated by putting the focus directly on getting you into combat, Dawn of War lets you engage in visceral, bloody, large-scale war with friends or AI opponents. Several factions were added in expansions, meaning that it is absolutely packed with content to try out. The game is still fully playable online to this day as well, and I’ve had the pleasure of getting together with friends recently to try to hold the line against high-level CPU teams hell-bent on annihilating us. It results in glorious carnage as your units rain gunfire and artillery down and chainswords rip through flesh. The modding community is also great, bringing in an entirely new, playable faction and removing the game’s unit cap for ultimate apocalypse mode.
41. Dynasty Warriors 4: Empires (2004, PS2)
I am not exaggerating when I say that I loveDynasty Warriors 4: Empires. I have poured countless hours into this game as I gleefully hack and slash my way through ancient China to reunite the land under my banner. Empires specifically is great, because it adds a level of grand strategy to Dynasty Warriors‘ usual formula, as each battle captures territory, makes new items available, allows you to recruit and capture officers, and gets you one step closer to conquering the nation. This change takes the rather repetitive combat of Dynasty Warriors and gives each battle a level of importance and resonance that it may otherwise lack, since each action you do is building towards a grander goal. The nature of the world map also means that no two campaigns will play out the same: you’re always going to have different enemy factions, different officers fighting with you, different territories to attack and defend at any given time, etc. I actually replayed the game on my Retroid Pocket 4 Pro a few months ago, and it was like cuddling in a warm, familiar blanket again. Later games may have expanded the political gameplay, but this version of Empires will always have a special place in my heart.
40. Resident Evil 3 (2020, PS4)
My go-to answer for “most over-hated game of all-time”, I legitimately enjoy Resident Evil 3 remake more than Resident Evil 2 remake. This, once again, comes down to the non-gameplay aspects: the story in Resident Evil 3 is easily the best in the entire franchise. Jill is a fucking badass, Carlos is cool, Nikolai is a great secondary antagonist, and Nemesis is a terrifying, relentless monster. Resident Evil 3 plays like a PS3-era, cinematic action game in the vein of Dead Space 2, the sort of experience we rarely get these days when every game has to be open world and dozens of hours in length or it’s not worth gamers’ time. The runtime is fine for this sort of experience: the six-to-eight hours you spend are maximized for fun and spectacle, and I got significantly more enjoyment out of this than I did out of the bloated, two hundred hours spent toiling away in Fallout 4 (and I call bullshit on anyone who claims to have beat it in three hours unless they were specifically running through it as fast as possible). Plus it’s on sale all the time now, so price isn’t even a problem. Sure, it cuts some content from the original, but the original still exists: play ’em both, I say.
39. Tom Clancy’s Rainbow Six: Siege (2015, PS4)
While the game has expanded in some wild directions since release, the core gameplay of Rainbow Six: Siege is one of the best multiplayer shooters I’ve ever experienced. I got in early, a few weeks after launch when the game was in a very rough state, and I was hooked due to how intense it was. As a defender, having to fortify your position while you can hear attackers breaching to get to you makes your heart beat fast and your palms sweat in anticipation of what’s to come. As an attacker, you have to watch every step you take as you try to get in as safely as possible. Each encounter is life-or-death, with instant kills coming frequently. The operators’ unique weapons and equipment fundamentally affect how this plays out and creates a mix-and-match system that makes every game unique. While I don’t really play competitive shooters much anymore and, as a result, I’ve effectively retired from Siege for good, my time with the game was easily some of the best experiences I’ve ever had in an online game.
38. Metal Gear Solid V: The Phantom Pain (2015, PS4)
With the glut of open world games we’ve gotten in the past decade, my opinions on The Phantom Pain have softened somewhat. Traversal quickly becomes a pain in the ass, as starting any mission will require you to get past multiple guard checkpoints, you always feel obligated to look for new soldiers to recruit for your base, and the side ops get extremely repetitive. That said, The Phantom Pain still stands out thanks to its fundamental gameplay systems. Stealth remains incredibly fun, all the wild and wacky gadgets at your disposal give you so many ways to mess with guards, and the guards actually learn and start to counter your tricks, forcing you to change things up regularly. In spite of its problems, it’s still a great sandbox experience and a solid send-off to the greatest saga in gaming.
37. Mass Effect 2 (2011, PS3)
While Mass Effect 3‘s ending soured the entire franchise, Mass Effect 2 at least remains one of the best action RPGs on consoles thanks to its fairly self-contained story. You’re basically tasked with putting together a team of specialists to go on a suicide mission. The first twenty or so hours are just you recruiting your team, getting to know them, preparing your ship and equipment, and (most importantly) growing emotional connections to your entire crew. We then get one of the best finales in gaming as your team plunges into the gauntlet and your decisions over the course of the game come to fruition. Depending on what you’ve done, one or more of your crew can die executing the mission, which is about as emotionally impactful as you would expect.
36. Resident Evil 3: Nemesis (1999, PS1)
Shock! Horror! I liked both versions of Resident Evil 3! While I certainly have some issues with it compared to its predecessor, Nemesis is such a unique and ambitious game for its time period. Its scope is significantly wider than any previous Resident Evil game, allowing you to freely traverse an entire section of Raccoon City. The titular Nemesis is also downright scary here, barely operating within the limits of what you can reasonably deal with in Resident Evil‘s tank control scheme. The freedom and sense of risk/reward that this gives you is great – you can avoid fights with him if you want to, but if you choose to tough it out, you’ll be handsomely rewarded for your efforts. I remember when this game was considered the dark horse of the franchise, so seeing it get all the love after all this time is great to see.
35. Dead or Alive 2 (1999, PS2)
A couple months ago, I would have said that I liked Dead or Alive as a franchise, but I wouldn’t have had any of the games in my top fifty. Dead or Alive 2 changed that for me. The game is a massive improvement on its predecessor, adding in new characters, fun new mechanics, stage hazards and multi-level stages which wildly change how a battle looks and feels. The game is also simply packed to the brim with content, to a degree that we just do not get out of games anymore. It’s a simple enough game that anyone can pick it up, but deep enough that there’s a lot to learn and come to grips with if you really want to dedicate yourself to learning. Like I said in my recent Love/Hate series, I’m so glad that I decided to check the older games in this franchise out, because they were a real joy to get to experience.
34. Hotline Miami 2: Wrong Number (2015, PS Vita)
Hotline Miami 2 is largely more of the same from its predecessor, but when that game had one of the most addictive and replayable gameplay loops of any game, that’s nothing to sniff at. Hotline Miami 2 is hypnotic: an acid trip of colour, blood, ultraviolence, synthwave, and pure focus. You will die over, and over, and over again as you try to perfect your killing spree and get through each area unscathed. This results in a ballet of bullets as you mow down enemy gangsters with dual SMGs, throw your empty gun to stun a guy, then slash their jugular open with a blade you picked up, then throw that blade into another guy’s head, grab another weapon to keep going, etc. All this coming as you die, hone your approach, die again, and so on until you have it down perfectly.
33. This War of Mine (2014, PC)
This War of Mine threads the extremely delicate line between entertainment and art with a serious message and, in my opinion, the results are poignant. Meant to act as a commentary on international conflicts and of the military shooters of the day, you play as a small group of survivors caught in an active warzone trying to survive to see peace return once more. You have to balance your survivors’ sleep, hunger, and morale, and developing your safehouse to be able to produce heating, supplies, and to be able to defend against looters. Then, at night time, it’s safe enough to sneak out and try to scavenge for supplies… but be careful, because you’re not the only one trying to survive…
Then there’s the heavy choices. Supplies are going to start drying up real quickly. Do you risk confronting other scavengers who may be hostile? Do you enter an area with ongoing exchanges of gunfire to risk getting to supplies that haven’t been picked over yet? Do you try to break into a gang’s well-stocked safehouse to steal their supplies? Or do you break into a defenseless old couple’s home and steal their supplies to keep yourself alive? If neighbours ask for help, will you give up some of your rations and medicine to help them? And, if you have children in your safehouse, how do you keep them safe and innocent in the face of all this? This War of Mine leaves these choices up to you, and only makes them harder as disease and winter set in, making you really test the limits of your morals. It’s a one-of-a-kind survival experience, and I implore you to check it out.
32. Ace Combat 04: Shattered Skies (2001, PS2)
Shattered Skies is a special game for me. My grandfather on my mother’s side was a pilot instructor. One of my earliest memories was flying with my grandfather in his two seater airplane and looking down at the world below us. Probably due to this connection, my aunt bought me a copy of Ace Combat 04: Shattered Skies as a gift. I wasn’t particularly interested at the time, but eventually decided to give it a try, and quickly became mesmerized.
On the gameplay front, Shattered Skies is an arcadey military air combat game where you’ll be dogfighting, shooting and bombing ground targets, and sometimes flying dangerously low to avoid radar and airburst artillery. The gameplay is actually way more varied than you’d expect for this kind of game and makes for a game that never gets old. You also get access to dozens of airplanes, each with their own strengths, weaknesses, and customization options, which let you tailor them to each mission you find yourself in.
What really makes Shattered Skies so good though is its shockingly mature story – and I don’t mean that in the “rated M for mature” sense, I mean that this is some legitimately great stuff. The story is told from three perspectives: 1) the big picture, war room briefing perspective, which tells you about the progress of the war between ISAF and Erusea; 2) the in-game story of Mobius 1, who you control and turn into a legendary fighter ace over the course of the game; 3) the story of a grown man recounting his experience as a boy growing up in occupied San Salvacion. This third story is where the real emotional punch of Shattered Skies comes in, as we see his family killed as collateral damage in the war after the Erusean Yellow Squadron shoots down a plane, which crashes into their house. Despite hating the occupiers, he grows to have a strained relationship with some of the fighter aces in Yellow Squadron who are based in the city. While Yellow Squadron clearly have empathy for the boy and want to be seen as more than just occupiers, you get the sense that they are legitimately saddened when he has to stand up to them in order to protect a friend in the resistance. This more personal perspective of your enemies makes it a bittersweet moment when we have to face Yellow Squadron in battle as Mobius 1 and shoot them down one-by-one. It’s a shockingly clever and tragic way to lend emotional stakes to what would otherwise be standard air combat gameplay. This whole story makes Shattered Skies so much more than the sum of its parts, and is easily one of the best-written stories in video games.
31. Resident Evil 2 (1998, PS1)
I knew that Resident Evil 2 was celebrated back in the day, but I didn’t really realize just how good it was until I finally played it earlier this year. Given its placement here on the list, I also clearly liked it quite a bit more than its more polished and popular remake. I just love the way that Resident Evil 2 feels and plays: nearly everything good about the remake is intact here, and in some ways (such as the story and branching playthroughs) it’s even better. It’s incredibly impressive for a PS1 game and by far the most fun entry in the “classic” era of Resident Evil.
30. Resident Evil (2002, GC)
While Resident Evil 2 is the best of the classic era, the remake of the original Resident Evil is arguably the best distillation of the Resident Evil formula we’ve ever gotten, largely thanks to the changes and improvements it brought after six years of iteration. The original Resident Evil was a very rough and unrefined game: full of cool ideas, but lacking in the execution. REmake realizes that potential and then some, with graphics that still look fantastic today that help bring the oppressive atmosphere of the Spencer Mansion to life. The remake also makes several changes to the original game which keep things surprising to veterans and improve the overall layout of the mansion in the process. The Crimson Heads are the most notorious example of this, providing a nasty surprise to new players who are too liberal with their firearms usage, and adding a whole other layer of strategy as you have to figure out which bodies to burn before they reanimate as even more dangerous enemies.
29. Battlefield: Bad Company 2 (2010, PS3)
If you’re unfamiliar with the series, it may seem kind of weird to rank a Battlefield game so highly, because a Battlefield game is just another Battlefield, right? Bad Company 2 was special. Like Battlefield 3, this game was really designed for rush, and charging in with your teammates to take the MCOM stations was as intense as it was fun. Bad Company 2 also featured a level of destruction that no Battlefield game since has dared attempt to replicate: nearly every building can be blown apart or leveled entirely. While some argue that this makes the map kind of boring once all the buildings are gone, I call those people cowards: flushing defenders out of Arica Harbour with a series of tank shell strikes was a literal blast. The game also had some fantastic maps which, when they’ve shown up in subsequent Battlefield titles, have given me a rush of nostalgia that I’ve rarely felt for anything else. It’s a shame that the game was shut down for good last year, but the memories live on forever.
28. Dead Space (2008, PS3)
Dead Space is the best franchise to arise from the glut of Resident Evil 4 clones, and it’s not even close. A mixture of Event Horizon, The Thing, and Alien, this first game brings terror to the corridors of the Ishimura as you try to stay alive against hordes of necromorphs and find out what happened to your girlfriend, who was stationed on the ship. The core gameplay gimmick is inspired for a horror game of this nature: simply shooting a necromorph is insufficient to kill it, you need to blast their limbs off to immobilize them. Combined with limited resource survival gameplay, stasis blasts to slow enemies, kinesis to throw objects at your foes, and a good ol’ fashioned curb stomp when all else fails, the core gameplay of Dead Space is rock solid.
27. Fire Emblem: Awakening (2012, 3DS)
Fire Emblem: Awakening came out at a difficult time for the long-running franchise. Sales for the last couple entries had been underwhelming, so Intelligent Systems had one last chance to right the ship before the series went on ice for good. With this in mind, the developers threw the kitchen sink at Awakening, trying to make the biggest, best Fire Emblem of all-time, if only to give it a proper swan song. Luckily, their efforts paid off and Awakening gave the franchise a second life. While it largely plays like any other Fire Emblem game (turn-based tactics gameplay, RPG elements, perma-death, etc), Awakening‘s big new feature was an expansion of the relationship system to allow two of your soldiers to have children, who will inherit traits from both of them. This allows for some really fun and unique combinations, which work just as much for roleplayers as they do for min-maxers. While some fans have bemoaned this addition, claiming it turned Fire Emblem into a waifu simulator, I think that that opinion is fucking dumb. Awakening is a great game and, in my opinion, the most fun Fire Emblem I’ve played thus far.
26. Uncharted 2: Among Thieves (2009, PS3)
I really enjoyed the original Uncharted when it came out, a lot more than most people who played it in fact. I loved the characters, the gameplay, and the story, so I was excited to see how Naughty Dog would up their game for the follow-up. What I was not expecting was for Uncharted 2 to absolutely blow everyone’s expectations out of the water and be widely considered the game of the year for 2009.
Uncharted 2 plays like its predecessor, but with some key refinements. The game is overall just bigger: more grand spectacle, bigger set-piece moments, more characters, more complex story. As much as I liked Nathan Drake and Elena Fisher in the first game, they really come into their own here, and I love that Naughty Dog didn’t take the easy route of having their pulp hero have a new love interest in every game.
And that’s it for part two. If you’re reading this the day it came out, then the final part will be up tomorrow!
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Lately, I’ve been seeing people on social media posting Topsters lists of their favourite video games, which has gotten me thinking about the topic. It got to the point where I put together my own quick-and-dirty list on Bluesky, but that didn’t really leave me all that satisfied. You see, for about twenty years now I’ve been using IMDb to track and rate every movie I’ve seen in that time. It’s actually been pretty useful for me, and I can easily look back and get a rough idea of what movies I’ve seen and what my thoughts were on them. This put me on a journey to try to do the same for every video game I’ve ever owned and/or played, which led me to a site called Backloggd. Having spent a couple weeks recounting every game I can remember playing, I’ve now got a big list of nearly four hundred games I’ve played (four hundred!? GOOD GOD). That’s a big enough library that I can legitimately put together a top one hundred games of all time list… so why not do just that?
A few notes before we start: first, I’m not going to include compilations here (so no Master Chief Collection, Tetris & Dr. Mario, Super Mario All-Stars, Metal Gear Solid HD Collection, etc). The upper-echelons of the list would probably be dominated by compilations, and that just doesn’t feel fair to the legacies of the individual games. Secondly, I’m not going to make this “one game per franchise” like I would if this were, say, a top twenty-five. If your franchise is good enough to get multiple entries, then you’ll get that representation (although a sequel that basically invalidates its predecessor’s existence will likely push prior entries off the list entirely). Thirdly, this is wildly subjective and, by its nature, only based on the games that I’ve actually played. As a result, I guarantee you that I have not played some all-time classic that you love. Please tell me how much you hate me for not including it down in the comments below.
Got it? Let’s get onto the list then…
100. Echochrome (2008, PSP)
A fun, quirky, minimalist little puzzle game on PSP where you have to rotate a 3D maze in order to change perspectives and allow a mannequin to reach the exit. Can be a bit finnicky with its controls, but it’s such a unique and striking premise that I can’t help but love it.
99. Theme Hospital (1997, PC)
This business simulation game was a blast back in the day, but what really made it stand out from the crowd was the various wacky ailments your hospital would have to treat.
98. Peter Jackon’s King Kong: The Official Game of the Movie (2005, PS2)
In the annals of licensed video games, King Kong was easily one of the best. 90% of the time it’s a tense, immersive first person shooter where you struggle to survive against the monsters of Skull Island. For a glorious 10% of the time, you turn the tables and become Kong, beating the ever-living crap out of every monster that had been harassing you up to that point. The game was also just legitimately revolutionary, pushing the boundaries of immersion, with no HUD to speak of and direct involvement from Peter Jackson himself.
97. Guacamelee! (2013, PS Vita)
A joyous, lucha libre-themed Metroidvania. I remember trying a demo of the game when I was on a vacation in Atlanta and immediately deciding that I was going to buy this game when I got back.
96. Pokémon Diamond (2006, DS)
The fourth generation of Pokemon is probably my favourite of them all (and I say this as someone who stopped at gen two and came back for gen six, so this isn’t nostalgia speaking). The physical/special split was revolutionary for the gameplay and the difficulty was legitimately challenging. Granted, Diamond makes the list largely because I have not gotten around to playing Pokemon Platinum yet. When that happens, I expect Diamond to drop off and Platinum to move higher up, as it’s generally considered vastly superior to the other two Sinnoh games.
95. Vigilante 8: Second Offense (1999, PS1)
Car combat is one of those genres which are dominated by one big franchise (Twisted Metal), and the rest are a bunch of forgettable rip-offs. Vigilante 8: Second Offense is the closest anyone ever came to stealing the crown, with its significantly better graphics and interesting innovations. Who cares about any of that though: on the Arizona stage, you can cause a meteor to strike the arena, which will send any nearby cars flying and then a giant ant comes out which attacks everyone on sight. Entire evenings were spent in our household on this one level as we blasted each other and this giant, fuck-off ant over and over again.
94. The Lord of the Rings: The Return of the King (2003, PS2)
Another Peter Jackson licensed game makes my top one hundred! The Return of the King game is a fairly simple hack ‘n slash by modern standards, but it sure is fun and miles better than it had any right being.
93. Assassin’s Creed 2 (2009, PS3)
At the time of its release, Assassin’s Creed 2 was a revolutionary experience, perfecting the half-baked formula of its predecessor, and featuring an interesting narrative with a protagonist who was surprisingly endearing. At the time, I would have easily put Assassin’s Creed 2 much higher on this list. However, only one game later, I was halfway through Brotherhood, when I suddenly found myself completely done with this series’ structure of “travel halfway across the city to your mission, then travel halfway across the city to complete the objective”. I still think Assassin’s Creed 2 is good enough to warrant a spot in the list, but oh how the mighty have fallen.
92. Freedom Fighters (2003, PS2)
Freedom Fighters is a legitimately revolutionary game for its time. It starts out as a pretty terrible third person shooter due to its wildly inaccurate weapons. However, it soon evolves into something special, as you start being able to command an ever-growing number of squadmates, until you’re eventually commanding a dozen guys into massive battles against tanks and helicopters as you attempt to liberate an occupied USA.
91. The Sims 3 (2009, PC)
I wasted way too many hours in university playing The Sims 3 that I should have been spending on homework and socializing. Oh well, it’s not like I wasn’t enjoying myself.
90. Rise of the Tomb Raider (2015, PS4)
I reviewed the first Tomb Raider reboot game back when it came out and, as much as I enjoyed it, it clearly was a bit rough around the edges. Rise of the Tomb Raider largely smoothed off the rough edges and made for a much more refined and enjoyable experience overall.
89. Bioshock Infinite (2013, PS3)
Another one of those games that probably would have ranked a lot higher at one point, Bioshock Infinite still impresses due to its amazingly-realized world and mind-bending story. Hell, the game spends a lot of time just being a walking simulator and, honestly, that’s when it’s at its best. The shooting gameplay’s pretty rough, which does lower its overall quality somewhat, but Booker and Elizabeth’s adventure remains as unforgettable as ever.
88. James Bond 007: Everything or Nothing (2004, PS2)
Everyone’s got a favourite James Bond video game, but for my money, Everything or Nothing is the GOAT. An early third-person cover shooter, this game was hard as nails back in the day. Its plot was pretty over-the-top, but considering it was coming out after Die Another Day, I guess that was just par for the course for Pierce Brosnan’s Bond. Honestly, the craziest thing about it was probably that Shannon Elizabeth was a Bond girl, but then again, so was Denise Richards during the Brosnan era, so what do I know?
87. Future Cop: LAPD (1998, PS1)
Future Cop‘s single-player gameplay is fun enough – blast away violent criminals, gangs, and cultists from the comfort of your transforming mech. However, what really pushes it over the top is its multiplayer mode, Precinct Assault, which is basically a proto-MOBA: get points for killing enemies and capturing neutral territory, use these points to buy bases, defensive units, and offensive units, which will attempt to enter your opponent’s home base. First side to get an offensive unit inside the enemy’s home base wins. It makes for an endlessly addicting, back-and-forth struggle to come out on top.
86. EarthBound (1994, SNES)
This cult classic is largely memorable for its quirky humour and writing, which does away with the JRPG conventions of the time, instead featuring a bunch of psychic children fighting gangs of weirdos in the 1990s.
85. Age of Empires II: The Age of Kings (1999, PC)
Man, you had to be there back in 1999, chopping down trees, mining stone and iron, and then marching out your massive armies to go obliterate your opponents’ base while the horns of war sound.
84. Total War: Warhammer III (2022, PC)
…and then we have the ultimate evolution of the epic RTS, Total War: Warhammer III. Total War has been producing jaw-dropping battles for decades, but the Warhammer games unshackled that formula from the limits of history and into glorious dark fantasy. Warhammer III gets the placement here by default since it allows you to bring in all previous factions and DLCs into one enormous world map to conquer. It’s a staggering amount of content on offer and makes for an overwhelmingly massive sandbox to play in.
83. Super Smash Bros. Ultimate (2018, Switch)
And speaking of overwhelmingly massive, Smash Ultimate is probably never going to be surpassed in the fighting genre in terms of sheer roster size and content on offer. The core gameplay is as simple and fun as ever, making for a great pick-up and play experience with your friends and enemies.
82. XCOM 2 (2016, PC)
Confession: I kind of hated XCOM 2 on launch. I had loved XCOM: Enemy Unknown, but the guerilla ops of vanilla XCOM 2 just didn’t jive with me and the RNG felt way off. However, after War of the Chosen released, I decided to give it another look, and it sank its hooks into me deep, to the point where I can’t really see myself going back to the original game anymore. The modding scene is also pretty incredible, allowing you to deck out your soldiers as Space Marines, Solid Snake, and even Helena Douglas and Hitomi from Dead or Alive.
81. Metal Gear Solid 2: Sons of Liberty (2001, PS2)
I have my issues with Metal Gear Solid 2, but in the eight years since I wrote about it, the game has only managed to become even more relevant. Even if it’s not a game I’d particularly want to go back and play at a moment’s notice, I find myself thinking about it all the time, which is a level of longevity you really can’t say about a lot of media two decades from release.
80. Bully (2006, PS2)
Billed as “Grand Theft Auto in a school” at a time when anti-bullying campaigns and the Grant Theft Auto moral panic were at their height, Bully is nowhere near as controversial as it may sound. In fact, you’re the one bringing down the bullies (although you can wedgie the nerds if you want to be a dick).
79. Death Road to Canada (2016, Switch)
A hilarious and addictive zombie survival roguelike, Death Road to Canada is the definition of a “just one more run” game.
78. Journey (2012, PS3)
One of the early, undeniable examples of “games as art”, Journey is a short, thoughtful, gorgeous experience.
77. Super Mario Bros. (1985, NES)
The quintessential 2D platformer, Super Mario Bros. is still a great game even today. Hell, its plethora of secrets are so well-ingrained in the collective conscious, that it’s easy to forget how truly mind-blowing all the hidden blocks and warp pipes really are for a forty year old game.
76. Dead or Alive 3 (2001, XB)
Oh hai, Ayane! Dead or Alive 3 is a gorgeous, spectacular, and downright fun fighting game, which really stands out due to its awesome stage designs.
75. Minecraft (2011, PC)
You don’t need me to explain what Minecraft is, right? I actually only started playing it this year as a bonding activity with my son. As cool as it is to see our world get built piece-by-piece, it’s even more exciting getting to see him learn and get to grips with how to play games in the process.
74. Call of Duty: Modern Warfare 2 (2009, PS3)
Very few games reach the level of blockbuster hype that Modern Warfare 2 achieved, and it lived up to that hype and then some. The campaign is explosive and exciting. The notorious “No Russian” mission is still referenced today, fifteen years later. The multiplayer was also a massive evolution, bringing in dual-wielding and even faster gameplay than its predecessor.
73. Star Wars: Rogue Squadron (1998, N64)
Whenever we’d visit my cousins, the first thing we’d do is fire up their N64 and play a few levels of Rogue Squadron. Flying around in various Star Wars vehicles and dogfighting Tie Fighters is a joy, and it’s still just as fun today.
72. Lollipop Chainsaw (2012, PS3)
A perfect example of how gameplay isn’t everything, Lollipop Chainsaw demonstrates the power of leaning into style. The combat is kind of janky and overly-simplistic, and the enemies are downright rude, but when you’re bopping to pop hits while chopping zombies to bits and the entire screen is turning rainbow, it’s hard to not have a great time.
71. Among Us (2018, PC)
It can be easy to forget due to all the memes and merch which have flooded the public conscious, but at its core, Among Us is a fun social deduction game. Seeing how your friends react under pressure is fascinating, and trying to off them as an imposter gets you sweating like no other game can when your friends are trying to figure out who did it.
70. Life Is Strange (2015, PS4)
At a time when the market was saturated with Telltale narrative games, Life Is Strange stood out with its unique time travel powers and bold writing choices.
69. Pokémon Black Version 2 (2012, DS)
I maintain that the fifth generation of Pokémon was a fairly messy one, but they got the balance between fresh experiences and wild ambition far better for Black 2 and White 2. It largely continues the gameplay improvements from gen four, but adds a ridiculous amount of content, while providing a completely remixed map from Black and White and brand new story.
68. Metal Gear 2: Solid Snake (1990, MSX2)
I will never stop banging the drum that Metal Gear 2: Solid Snake is an underrated masterpiece. Many of the things Metal Gear Solid was hailed for were present here in their infancy eight years earlier.
67. Star Wars: Battlefront II (2005, PS2)
Star Wars: Battlefront II was a wild game, especially considering it came out only a year after its predecessor. It adds more maps. It has a progression system to upgrade your weapons. It makes heroes playable, and adds significantly more. It completely overhauls the flight system from the previous game, adding full-on space battles where you can dogfight, blow up critical ship systems, or board the enemy ship and cripple it from the inside. It was just a massive game with a scope and scale beyond many modern games that I sank countless hours into back in the day.
66. Pokémon Crystal (2001, GBC)
Back when I was a kid, gen two was the pinnacle of Pokémon, a massive improvement upon its predecessors and a shockingly expansive game for a tiny little Game Boy cartridge. Of the gen two games, Crystal was easily the definitive version, hence its placement on the list.
65. Left 4 Dead 2 (2009, PC)
Left 4 Dead 2 was controversial prior to launch, due to releasing only a year after its predecessor. However, as soon as it arrived, all complaints were washed away in a sea of undead. Left 4 Dead 2 is a fun co-op action experience, made all the better due to its AI director who makes every playthrough unique and tense.
64. Halo 3 (2007, XB360)
Halo 3 is a damn good time, with the best gunplay of the original trilogy. If not for some personal gripes about the story, I’d probably rank this significantly higher.
63. Fire Emblem: The Binding Blade (2002, GBA)
The last Fire Emblem game to not get an international release, The Binding Blade has some fan translations which are easily accessible and which help make the game playable for English-speakers. Its sequel would be fairly dumbed-down for the western audience who weren’t used to the series’ gameplay, but for those itching for a larger, more challenging experience, The Binding Blade is just what you asked for.
62. Civilization IV (2005, PC)
The last Civilization to retain the series’ “classic” structure, Civilization IV is possibly my favourite single entry in the franchise. However, its successors have taken the overall experience so far that I am not sure if I could ever actually go back to this game. This made it a bit hard to rank for me as a result, but I think that its more classic Civ gameplay gives it a somewhat unique place and its legacy deserves some recognition.
61. Battlefield 3 (2011, PS3)
While there’s a palpable sense that Battlefield 3 was taking a bit too much influence from Call of Duty, this game was an incredible experience back in the day. This was also the last time that DICE prioritized my favourite game mode, rush, and some of the rush maps here were incredible.
Whenever I bring up memorable video games, I always go back to Ancestors: The Humankind Odyssey. To some degree, this game is kind of crappy… there’s basically no explanation of its mechanics, extremely repetitive gameplay, and very simple combat. You will struggle to make it more than a few hundred meters from your home without your ape having a panic attack (oh hey, just like real life!). You will be killed by predators out of nowhere and you will miss multiple jumps and fall to your death. These deaths are permanent, mean one less ape in your colony, which is already teetering on the edge of extinction.
However, you will eventually begin to get to grips with the mechanics. You’ll learn how to move around so as to avoid danger. You’ll learn how to make tools to make things easier for yourself and to fight back against the predators. You’ll start trekking out further and further from your home. You’ll learn to communicate with your troupe and start forming armed, roving gangs for safety. Soon, this massive jungle you’ve been exploring won’t seem so massive.
What really cemented the game for me was when I decided to climb the father tree, the largest tree in the jungle. I was carefully making my way up this massive trunk, climbing into the clouds, giving myself literal vertigo due to the sheer height. I reached the top and the entire world stretched out before me. There were so many more places left to explore, and I’d barely scratched the surface of it all…
…oh, and then I had to figure out how to climb back down. Truly an unforgettable game, far more than the sum of its parts, even if it takes a lot of patience to find the gold within.
58. Battlefield 4 (2013, PS4)
While the first six months were unacceptably bad, Battlefield 4 is now arguably the best Battlefield game on the market. Packed with tons of weapons and maps to engage in large-scale war on, I poured hundreds of hours into this game at the peak of my obsession with online shooters.
57. Teenage Mutant Ninja Turtles: Turtles in Time (1991, SNES)
Turtles in Time is a great beat ’em up, but it’s one of those games that cements its legacy with one simple mechanic: you can grab enemy Foot soldiers and throw them at the camera. This would be cool enough as-is, but the cherry on top is that this is how you have to damage multiple bosses. Fuck yeah.
56. Fallout 3 (2008, PS3)
Fallout 3 came out at the perfect time, back when the open world game was still special, and when the Fallout universe hadn’t been explored in a decade. It made for a really evocative and unique experience that can’t really be recaptured now that everyone knows what Fallout looks and sounds like.
55. Twisted Metal 2 (1996, PS1)
In terms of pure gameplay, Twisted Metal 2 may just be the pinnacle of the series, with some iconic maps, lots of fun characters to play, and entertaining weapons to blast your friends to smithereens.
54. Resident Evil 7: Biohazard (2017, PS4)
I really love RE7. I love how it mixes the long-forgotten, classic Resident Evil gameplay with modern horror conventions to create a truly fresh, terrifying experience. This is easily the scariest Resident Evil has ever been.
53. Tom Clancy’s Splinter Cell: Pandora Tomorrow (2004, PS2)
Pandora Tomorrow was my first Splinter Cell game and it immediately cemented my love for this franchise and stealth games in general. Shooting out lights, hiding in shadows, using gadgets, and generally just fucking around with your enemies is as fun as ever.
52. Tom Clancy’s Splinter Cell (2002, PS2)
Oh hey, remember how I said we’d get multiple games from the same franchises on this list? Well, I had a really hard time picking between Splinter Cell and Pandora Tomorrow, but I had to give the original game the slight edge, due to preferring its story campaign just a tad more (sadly, I never got to play the multiplayer in Pandora Tomorrow, so I can’t comment on that).
51. Hitman 2 (2018, PS4)
IO Interactive’s modern Hitman trilogy is a stunning accomplishment. Create a vibrant, expansive, multi-level open sandbox, throw at least two targets into it, then set you loose to figure out how to kill them in a manner that suits you best. The sheer level of freedom is jaw-dropping and the ways that the world will react to your actions is remarkable to see. I’ve only played the first two of these games, but Hitman 2 gets the edge for me due to its more creative scenarios.
And that’s it for part one. If you’re reading this the day it came out, then part two will be up tomorrow!
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